INTER 1995 • VOL. 15 $3.50 (CAN. $4.25, U.K. £2.

50) \]J

^
 shown in a
"flying" array
format

spea\jeer pole
conv\intently
118s . removable
m\taunts
monitor covers
main Speakers
protect speakers.,
above flub-woofer
and make -^
fofcl

B r moving and
loading a
breeze. '•

215s
Sub-Woofer »1 m-\ 1285 Mark I
l..i :
llonitor y i B iMointor \m Mark H
fll'p
^
w
 . Ui

Innovative road case

protects components
during travel, then
transforms easily—
within seconds-
into a console
stand and
desk.

r Hum and noise

are extremely
low, because the

IPX-2200 SEBIES power amp and

power supply
are at the
^> bottom of the

IOWEREO MlXERS
-ffiy\
road case.
i^rt^ ;:.^"^^^^

Ws
cp ^ss^i
^

FENDER PRO flUDIO Features

numerous
to mention
here make

\
the
PX-2200
;1?
mixers a
joy to
operate.

|F<9? a brochure on

^
[ tlleA® products,
I send '$2 to:
1 Fender Musical Instruments,
[Attn: Literature Dept., 7975
[N. Hayden Rd., Scottsdale,
[ CA 85258. Request the
I Stand and Deliver brochure.
 &fe.

^ It
$s; idL^ ^

\ 62
(back)

^
t^ 62
(front) I

^y\
--^ Order Form Sfirtl
Name Payment Method: D Check D Money Order D Visa/Master Card

Address_ VISA/MC Name

(as it appears on card)

City. _State. -Zip- Card#mDD-aDm-DDm-DDm Expiration Date.

Item Description Size/Color Quantity Price (U.S.$/U.K.£) Total

29 Fender Logo Hat, Black Wool $20.00 ea./14-99 Sub-total Make check or money
33 Vintage Hat, Black Wool $20.00 ea./14-99 AZ residents order payable to:
BMJ Promotions
4 Vintage T-Shirt — available in Black (b), Burgundy (c), Denim (a) L/XL/XXL* $19.00 ea./12-99 add 6.7% sales tax
P.O. Box 5863
43 Vintage Jacket— Black Wool/Leather L/XL/XXL* $300.00 ea./210-00 Add $45° shipping & handling Scottsdale, AZ
44 Polar Fleece Jacket, Grey L/XL $40.00 ea./34-99 TOTAL AMOUNT ENCLOSED 85261-5863
5 Vintage Sweatshirt, Black L/XL/XXL* $25.00 ea./16-99
U.K. ADDRESS:
11 Tone-Master T-Shirt, Black (see Vibro-King T-shirt for style of front) one size $15.00 ea./12-99
Sub-total in U.K. Sterling Make check or money
19 Custom Shop Long Sleeve T-Shirt, Black L/XL $21.00ea./17-00
(inclusive of V.A.T.) order payable to:
4 Fender Headstock T-Shirt, white one size $19.00 ea./14-99 Add 6.7% sales tax Arbiter Group PLC
(BMJ Promotions)
35 Fender Custom Shop Hat, Black/Red Wool $20.00 ea./14-99 f.2.-00 Add £2-00 shipping & handling Wilbertorce Road,
36 Fender Custom Shop Hat, White/Red Wool $20.00 ea./14-99 TOTAL AMOUNT ENCLOSED London, NW9 6AX
10 Vibro King T-Shirt, Black (see Tone-Master T-shirt for style of back) one size $15.00 ea./12-99 Great Britain

62 NEWI Frontline T-Shirt one size $15.00 ea./12-99 Please allow 4 to 6 weeks for delivery.
* Please add $3.00 extra for each item ordered in XXL size. NOTE: We are unable to de liver to P.O. Boxes or A. P.O. Boxes.
 ^ 1\

BUDDY
FREDDIE TAVARES
G.uf
43 Big Shots
A reverent look at one of the

Le^n^ fathers of the Stratocaster and

other Fender classics.
In Blue ^
'EvSnv^ith a
'<N"<^

career th^f's
burst into red
hot flames,
BOJVNJE RAITT
blues icon
6 Taking it to
Buddy Guy
the Streets
remains one
The queen of blues
of the most unveils her new Signature
^hufnble players Stratocaster/ and the
accompanying program
in (bebfisiness.
designed to return music
to the community.

**

:../

^s^
<'
 -^F—^- ,i^^ ^^ ~7i
'-r---1'; f^f-<
^
WtUI T E R 1995 -^ yOL U M E 1 5
"II(WrH^frl:^WIRI^
? m
T^i junior Is Tele-Pathic
^-^

Roving reporter Michael

Laskow:reviev\[sy ^

'?¥&e riewTPeIe.Jr.^ and getsf

a //chunky" guitar'sound
in th^stuctio. - - -: - - . -

Vibro-King!
^'^.'"'T'-"""? J^-^s

Players create a variety of great tones with

^the.Vibio-King. .^

^
11¥^1-'-- ;:-^ ^ - ' -. .. -^ ^ -<--—^---,;

Speakers: Looking Ahead

IWPAKTMENTS » %^! " I §?tt HollesteUe offers

advice on how to shop
4 Editorial: K^^"^- 'y^^
Foto Flame

4 Letters
*^^ :^ -,.>..^-t-'C%-'^-
10 New Products J
Recreatinq Your Tone Live!
16 From The Shop: Western Guitars
»*

'n ^CaptiSce your coveted

17 Product Index ^f-St il- ^ '.- ~ • r.J

-^ :^ ^ehearsal^ap^ at
—^-^^N-E.-l^ .f :' -^^-'^ ' ;

37 The Accessorizer: ^^tliegi|^^g"L/^

Guitar Surgery Manual

-^
•y.c" -""•

38 Giveaway: ^jss^r.:"-
f--:.

Autographed Blues Deluxe

39 Newsflash: Unearthing Treasures! 3fe Upgrading Your Strat Plus

40 Artist Action Installing the new LSR

Nut and Fend^Mc^f
45 Spotlight
Rose tremolo -.^M<^.^

47 Subscription Offer ^ss:

48 On Track

PHOTO CREDITS: Cover (Guy) Pat Enyart, (Raitt) Lester

Cohen; Poster (All) Rodney Rascona; pgs. 2 & 3 (Raitt)
Lester Cohen, (Park) Pat Enyart; pg. 6 (Raitt) Robert Double Double Stops Stops
Zuckerman; pg. 9 (Raitt) Lester Cohen;pgs.12 & 13
(Guy) Charles Dailey; pg. 33 (Verheyen) Peter Figen,
(Austin) Kathryn Kolb; pg. 34 ("Flying" array) Tim Boyle;
pg. 36 (Park) Pat Enyart; pg. 38 (Barksdale) Isabella '^Ti.i-s'vf* .Si^'S^^^^iS"''3'^9 ^-•j^s
Seefriedt, (Anderson) Annamaria DiSanto, (Kotzen) ParE'sKaMiTlEI^^
Cathrine Wessel; pgs. 40-41 (Foley) Scott Hill, (Gatton)
Nancy Carlson, (Malmsteen) Annamaria DiSanto, (Alderete,
Beller) David Bassett; pg. 45 (Mirikitani, Duarte) Pat Enyart;
;^S5Il?r^^try f£
pg. 48 (Murphy) Annamaria DiSanto.
•^ ^ ^gNtarseCret.' / - it^li
^;
^-:^T'/'^"./^! '.fr^r. F^
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*. fri"
Foto Flame: A Big Finish!
l ecently, a friend asked me if made guitar with a highly-fig- becoming more and more difficult
ie could borrow the Classi- ured maple body. to find as well. We wanted to pro-

filed section from my Sunday "What am I going to do?" he vide the figured look that people
paper. After watching him fever- moaned. "There's no possible desired, without seriously deplet-
ishly circle ads for "Human Crash way I could afford to buy it." ing the world's supply of this
Test Dummy" and "Liver Donor," I "No offense," I said, "but increasingly rare commodity.

asked him what the problem was. those jobs aren't the answer." My friend was certainly pleased
It seems he had been shopping "You're right," he sighed. "I'll to learn that Foto Flame-finished Michael Caroff, Editor and
at a musical instrument dealer, have to steal it! Do you have guitars were environmentally
Mark Wittenberg, Artist Relations
and had absolutely fallen in love some plastic explosive and black friendly. But I showed him that
with a very expensive custom- grease paint handy?" there were other benefits too. Last but not least, Foto Flame
Luckily, I found a solution One of the most important finishes look good. Just visit your
before things got out of hand. local authorized Fender dealer

TitOiNTLEST
aspects is the tonal quality:
"Have you seen Fender's 'Foto because the guitar's body is prin- and see for yourself.
Flame' finishes?" I queried. He cipally alder (one of the most Does Fender still have guitars
hadn't, so I explained what they popular woods because of its that include the aforementioned
WINTER 1995 • VOLUME 15
were all about. wonderful tonal characteristics), highly-figured wood? The answer
EDITOR: Michael Caroff
Foto Flame is a very innovative it sounds terrific. is yes. Some of our higher level
11999 San Vicente Blvd., #401
Los Angeles, CA 90049 process that simulates highly- Second (and obviously crucial production models offer this
310/471-6170 ext. 132 figured wood. This pattern is from my friend's point of view!) feature. And, you can always
FAX: 310/471-2830
"printed" onto a basswood is the financial savings: by avoid- order it on any instrument from
CONTRIBUTING WRITERS: laminate, which is then layed ing the cost of procuring figured the Custom Shop. But by restrict-
A.R. Duchossoir, Her Ganz, Alan
Hamel, Scott HollesteUe, Michael on top of an alder body. wood, we're able to offer these ing the use of figured woods to
Laskow, Mike Lewis, Tom Nolan, Why would Fender develop a models at very reasonable these select models, we're doing
John Page, Gary Park, Jack Schwarz,
process like this? Because figured prices—good news for anyone our best to conserve this
John Suhr
wood is not only expensive, but is shopping on a budget. valuable natural resource.
ARTIST RELATIONS:
Mark Wittenberg,
Bmce Bolen (Nashville),
Tom Nolan (London) Mail Call from the Frontline
DESIGN: LeeAnn Nelson, Thanks for your mail! To write, just address your letter to Frontline Letters,
Nelson Design 510/355-0995 7 7999 San Vicente Blvd., Suite 401, Los Angeles, CA 90049. If we can, we'll
TECHNICAL GRAPHICS: Bob Whitney print it and answer your question so everyone can benefit. So write us already!

KILLER CARTOONIST: Joe Davis

Fender Frontline is published by The Phelps HUM STEER a big impression on his friends!
Group, Copyright ©1995 by Fender Musical My old amps all hum when Sam Hassabo
Instruments Corp. (FMIC). Reproduction in whole
or of any portion is prohibited without express cranked up. Is there a way San Diego, CA
permission of publisher. To submit material, write around this when recording? Bet your son's friends have already
to: Frontline, 11999 San Vicente Blvd., Suite 401 ,
Los Angeles, CA 90049. Publisher assumes no Miguel Selig given birthday wish lists to their folks!
responsibility for unsolicited materials. Features
Atlantic Beach, NC
and specifications subject to change without notice. SEEING Is BELIEVING
Recording guru Michael Laskow says
Is there any chance Fender will
IMPORTANT INFORMATION to try: 1) Turning off all fluorescent
expand the vintage amp line?
Fender®, Squier^, Frontline, lights; 2) "Mu" metal shield around
Please give it some thought.
Telecaster<fTele®, Stratocastet^ amplifier; and 3) A noise gate between
Jeff Lemaich
mike(s) and mixing board. Good luck!
Strat®, Precision Bass®, Camano Island, WA
P Bass®, Jazz Bass®, J Bass®, BIRTHDAY BOY just look in the New Products section
My youngest son received a for the latest variation on that theme!
the head profiles of FMIC's
complete Fender guitar rig for
classic guitars & basses, WAYNE'S WORLD TOO?
his last birthday,, which made
Bassman®, Deluxe Reverb®, After buying what looked like
a regular Strat at my favorite HERE COMES THE SON
Dual Showman® Princeton®
guitar shop, I noticed a Wayne's You can really tell when my son,
Showman®, Super Reverb®
World 2 logo on the back. Logan, hits the right note on
Tone Master® Twin Reverb®, What's the story? "our" Stratocaster. Keep up the
Vibro Champ® Vibro-King® Scott D. Packard good work!
Vibrolux®, Dynamaxx, Sunn® Novi, MI Rob DePover
Super Bullets®, are all trade- A limited number of these guitars — LeClair, IA
marks of Fender Musical approved by Mike "Wayne" Myers — When your son records his first gui-
were produced in conjunction with tar solo send it in — we can't wait to
Instrument Corp. (FMIC).
the movie. hear Logon's run!
(continued on page 46)
4 Fender Frontline
 SILVERTONE
ly^
TOUTJ^?

STRAT MA^IK
^acked "P lone star bluesrock
from guitar slingeT'ChrrSte F^i
%%"D^unyeat"ri^
l'L?t^TOMy. Girifriend,"
and "Borrowed Love"""'*'

Produced by Dennis Herring

lte_
RECORDS®
 were more associated with the women singers
and writers that I grew up liking. Joni
Mitchell, Joan Baez and Judy Collins were
heroes of mine, and Aretha Franklin on the
piano was untouchable.
The new alternative rock scene has a
tremendous number of great and talented
guitarists: L7 and Liz Phair and PJ Harvey.
And there have always been bands like Vixen
and Fanny, the Bangles and the Go Go's; all
of them had good lead guitar players that
were women. I think that Michael Jackson's
lead guitar player for a long time was a
woman. (Editor's note: Jennifer Batten
toured with Michael for years; last out on the
road with Jackson was Becky Barksdale.)
But there still are not as many female elec-
trie guitar players as I would have expected.
As somebody that plays both acoustic and
electric guitars, I was hoping that I could use
some of my experience to encourage other
women to get more active.
--: Why did you choose the Boys and Girls
Clubs of America to implement the program?
BR: They're really the ones that are the most

.^
well established, the most suitably placed in

^
each neighborhood and the most well respected.
And the idea of course is to promote gui-
tar lessons and introduce the guitar to young
women in the neighborhoods.
BR: Eventually we would like to involve key-
board dealers and different audio equipment
dealers as well. Possibly they could have con-
tests where people send in demo tapes, and
^s a singer/ player and songwriter,
then whoever wins as the best songwriter
Bonnie Raitt has certainly made her
might get a publishing deal, record deal or a
mark in the music world. But she's also
free guitar. The idea is to offer some sort of
known as a long-time champion of other,
incentive, the same way that an essay contest
less successful singers, players and song-
encourages people to write.
writers. By regularly featuring blues icons Because I am a musician I'd like to encour-
like John Lee Hooker, Sippie Wallace age people who can't afford guitars—and girls
and John Prine on her own records; by who wouldn't even think about playing a
guesting on other artists' albums; by using ?-£?kR S:WONTUME: What prompted you to guitar. Hopefully the dealers will do some
spots on her tours to shed some light on create this program? outreaching into the community and let peo-
those less acquainted with popular BONNIE RAITT: Fender approached me with pie know that this program is available,
acclaim; by devoting time to the Rhythm the idea of doing a signature model. I was because we all know that art and music in

& Blues Foundation of which she is a interested in trying to encourage other schools have been cut way back.

founding member and Vice Chairperson/ women—and young women—to start playing There are currently inexpensive musical

Raitt has done much for fellow musicians. electric guitar. I said that if Fender was will- instruments with keyboard, drum machines
ing to work with me and develop a program and bass built in, so that any kid on the street
Her latest project involves joining forces
to provide guitars to girls that maybe don't could create their own demo, if they just had
with Fender and the Boys and Girls Clubs
have access to them, and to encourage more access to these instruments. My hope is that
of America to give kids—and especially
women to play guitar, that I would be happy there will be community centers where kids
young women—access to musical instru-
to lend my name to a model. can sign up for the use of these instruments
ments and education. Bonnie spearheaded
? '^ '•• Obviously your involvement in the pro- for a few hours every week and go in and
the creation of this program/ and will be gram will have an impact. Are there any practice and jam. There could be a room with
assigning profits from her Fender Signa- women electric guitar players who inspired or a drumkit and bass and guitar and keyboards
ture Model Stratocaster to the cause. And/ influenced you7 where people can go play around with music.
as always/ she is eager to share the details BR: There's always been a lot of women musi- I had a guitar as a kid because my parents
of her latest charitable enterprise. clans, though keyboard and acoustic guitar and grandparents gave me one, and I was

Fender Frontline 7
 -^-^
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able to be in a school orchestra and take I think because there are not as many women
piano lessons. But these days I don't think it's that play instruments, that it will set you
an option for kids and certainly not in the

Get Ylour
apart. If you want to break through the
inner city. We hope to offer access to music crowd, I would suggest getting really good
for people that otherwise wouldn't have on the guitar. If you're talented enough,
access to it. eventually somebody will hear you. I'm
FF: Is there any advice you can give young not that different of a singer or songwriter
people—especially women? than hundreds of other women, but LUSIC J.O
BR: If you fall in love with music and you certainly what set me apart was my
want to be a musician, learn your instrument. ability to play.

ie F^Jigl
FF: How did you come by the the famous "Brown" guitar on which your signature
model is based? "eople.
BR: I was 19 and living in Cambridge, Massachussets where I had gone to college. For a
lot of the tunings that I wanted to play bottle neck on, I would have to use a capo
The fact is, you won't get
up three or five frets to put them in my key vocally. Which of course made octaves
impossible to reach on the neck of an acoustic guitar unless there was a cutaway. a deal if you can't get your
Also the sustain is longer through an amplifier, and some of the blues that I wanted
tape solicited by a major
to play had to do with holding the note longer and making it sound more like a
human voice. So I wanted to buy an electric guitar. A friend of mine turned me on label or publisher. We work
to a Stratocaster that was for sale. I bought it in 1969 for $120.00, and it was exactly
with seventy-five of them.
like it is now, except the pickups have been rewound and the frets have been adjust-
ed. But basically it's the same guitar all along. You re curious but suspi-
FI-: You've always played that guitar?
BR: Every gig since 1969. cious. So were hundreds of
FF: In designing your model, you wanted to copy a lot of the aspects of your brown other songwriters, artists,
guitar without making a clone.
BR: Yeah. I mean you really can't clone something that is that old. You can approximate and bands who have
the good things about it but one of the things that makes classic guitars classic is that
become members. Now
they've been around a while. For instance, my guitar was stripped of paint when I
bought it, and we weren't going to put out a wood guitar with no paint on it! their tapes get to A&M,
FF: One of the finishes combines two of your favorite colors.
Atlantic, GBS/Sony, Elektra,
BR: A burst from turquoise to purple, and the pearl pickguard really sets it off. But
everybody's got different taste in guitars, so I think we'll probably offer it in a Epic, MGA, Mercury,
3-color sunburst as well.
Motown, RGA, SBK, Virgin
FF: The neck a is little narrower than your old Strat.
BR: I really like the way my and many more. Sounds too
original "Brown" neck was
good to be true, until you
made, but I think having a
narrow neck all the way up find out how we do it.Then
„ U9^els is a good idea, especially
\Nh'rt® you'll wonder why nobody's

v^
for people with smaller
t. Round"0'
hands. ever done it before.
^•"."-.^rip.an Slam
FI-: Is there anything else
that you specifically
La(9< wanted to change?
^ »NMU1^ BR: We used American
-^ I.ST'wW
Standard Fret wire,
Q.5"tad*us
which is a medium
SaU^inlsh
jumbo fret: that's
something that
wasn't on my origl-
nal. But basically we The Independent
were just recreating
the guitar that I
A&R Vehicle
have. I liked the novy, before
way it sounded you get distracted.
^ecto^-rtch and the price was
1-800-^58-2111
-^ 55^s
right. You know
Sponsored by
what I mean?

HMWNI^'-
Miniage imiww™
Fender Frontline 9
 Always on the move. Fender introduces a whole stockpile of new
weapons for you to do some serious damage with on the Frontline!

Keyboard Amplifier Gives

Double The Power!
Due to the popularity of the
recently released KXR100 key-
board amplifier, Fender has
Two Musical Giants Get Together! issued the KXR 200, which offers
Fender—in conjunction with Roland—has developed 200 watts RMS into a 15"speak-
the American Standard "GR-ready" Stratocaster er and dual element horn with
guitar, which combines Roland's GK-2A pickup two FPZ drivers. Features too
technology with an American Standard Strat. numerous to name here include:
With this innovative new guitar you can 4 channels, each with indepen-
drive Roland's GR-1 and GR-09 guitar synthesizers dent EQ, channel insert, reverb
(including changing patches from your axe!), play it send and effects send; low Z
as a standard guitar, or do both simultaneously. (XLR) input in channel 4; and
switchable Delta Comp™ limiter.

Fender's "New Vintage"

Series Debut!
Designed in the
Custom Amp
Shop and built in
the regular tube
amp factory, the
new Custom
Vibrolux Reverb
amplifier offers 40
watts RMS
Innovative Covers Provide Protection and Portability! through two 10"
Fender's SPL 1282 Mark II and SPL 1285 Mark II Monitors are now vintage "blue alni-
available with a cover which snaps on and protects the unit during co" speakers. The
travel. Casters on the lid also make vintage look is
moving the monitors a breeze! well complement-
ed by its all-tube
dual channel cir-
cuitry (normal
and bright, both
with reverb and
vibrato).

Two New Models Fill Out

BXR Bass Amplifier line!
With 200 watts RMS driving a 15" speaker, the new
BXR 200 combo is powerful enough for most situa-
tions. Features include selectable Delta Comp™ lim-
iter, 9-band graphic EQ, high and low shelving,
high/mid/low enhance switches, chorus, effects loop,
line out jack and external speaker jack! Also available
is the BXR 200 Head (200 watts RMS into 4 ohms).
r 9\\'^"-
i ...U-TT"

"5 in 1" Accessory Kit

Makes Guitar Care Easy!
Complete with 2" poly strap, gui-
tar polish, polish cloth, deluxe
pegwinder and pick sampler, the
new "5 in 1" Accessory Kit lets you
fulfill many needs with one stop.

10 Fender Frontline
 Line

~Ssv-'~" ""--•SS|||| ;^'~'';—-?>5r£s§5i5

Strings:
The
Easy Out
Fender Amps Chronicled In New Book! By Mark Wittenberg
Published by industry leader Hal Leonard, Fender
Mark Wittenberg is Fender's Artist
Amps: The First Fifty Years covers the entire amp
Relations Director. He signs new artist
line, with detailed model features and specs,
endorsees, and provides support for the
classic ads, endorsee promo photos and more.
current roster. His daily contact with players
A special version covered in authentic Fend-
of every style keeps him in the know.
er amp tweed will also be available as a limited
edition (only 1,000 will be produced).
'es, I'll admit it: I am, by nature, lazy; embarked on a
continual search for the easy way out, the quick fix,
the no-brainer. Not exactly a character trait one brags to
one's comrades about.
Sometimes it can be embarrassing when artists bring me
their problems. They're looking to me for my usual sage
advice, and after dipping into my virtual wellspring of
knowledge and experience I can only come up with a
seemingly inane answer: try changing strings.
Strings? That's right, strings.
You would be amazed at how many common maladies
of guitarists and bassists can be cured by changing strings.
Learn For instance, do any of these symptoms sound familiar?
Guitar With • fret buzz on one string but not the adjacent strings;
Your Computer—Here's How! • poor intonatlon;

Fender and Lyrrus Inc. (a leading software developer) • mystery rattles; or

recently teamed up to introduce G-Vox Blender™, a • sloppy string vibrations, particularly on wound strings.
multimedia education software package designed for When faced with these quandaries, many of us tend to
the next generation of guitar players. Drawing on grab the tool kit and scmb for minor surgery, thinking "it
famous guitar riffs, the program allows you to see and must be something serious!" But before you start filing,
hear how the music is played, as well as control the screwing, adjusting and intonating, try a cheap experi-
speed at which it is played.
ment: change strings.
And be discerning about your choice of strings. They
should be tonally balanced from high to low. They should
also provide even tension so that the transition from string
to string feels natural. For bassists, proper string tension
allows the fundamental note to project without the exces-
sive string noise common to low tension strings.
Two recent converts to this point of view were Adrian
Vandenberg and Rudy Sarzo of Whitesnake. Both felt that
strings were strings, and were satisfied with what they'd
been using over the last several years. So after playing
Instruments they'd recently received from our Custom
Shop, they didn't think twice when the guitars were ready
to be restrung: they simply reached for the familiar.
Rudy and Adrian went back to their "old favorites"—and
noticed something was lacking. Just to be sure they weren't
imagining it, they restrung again—with Fender strings. (For
Rudy it was 990L bass strings and for Adrian, 250L Dyna-
maxx guitar strings.) Neither player could get over the
tone, feel and balance of our strings. They were very sur-
Bass Players Get Sound Boost prised by the difference.
With BXR Speaker Enclosures! I guess the moral to this story is there's nothing at all
Whether you choose the BXR 115B (15" speaker, 300 watts peak power han- wrong with discovering the obvious. It frees up your time
dling), BXR 21 OH (two 10" speakers and bullet horn tweeter, 300 watts), or BXR for other more important things. You can save your
41 OH (four 10" speakers and bullet horn tweeter, 600 watts), you'll get a top of strength for that next big emergency—like dealing
the line speaker system, with perforated metal grill, recessed handles, and with a bad hair day.
rugged black carpet covering. All models 8 ohms.

Fender Frontline 11
L E GEN D I N

BY TOIVI NOLAN AND IVIICHAEL CAROFF

^ <E:
• •: {
t:.''

r/. t
ES

f blues could be said to have a spokesman, that ambas- gel the young people to pay attention to him too.
sador would have to be Buddy Guy. Like the style of music "And a friend of mine, Fenton Robinson, wrote a great
he so eminently represents, Buddy is currently enjoying a song, 7-1]. He writes some great stuff, and I love that 7-11
resurgence of popularity, and his three recent solo albums, song that lie save me."
Dinrin Ri^lit I Got Tin' Blm's, Feels Like Ruin, and the latest,
Slippin' In, have paralleled the increased focus on pure blues. SIippin In was produced by Eddie Kramer, who produced
Guy is in a unique position. As a guitarist who grew Jimi Hendrix in the 60s, and who recently producccl a tribute
up listening to and then playing with some of the historic album to Jimi (Slonr Five, on Warner Bros. Records) featurins
musicians of past generations—Guitar Slim, Muddy Waters, numerous lesendary figures including Buddy (who covered
Howlin' Wolf, el al—tie has never ouLgrown his humble view Rnl House), Eric Clapton ancl Jeff Beck.
that he is just a student at the feet ol: the masters. At .- :.-; "Eddie got a lot of stuff out of me that 1 knew was there,
the same time, Buddy is one of the last surviving members but he knows how to ^et thtil stulT out of you and on to the
of that generation, and via the reverence with which he is record. I'm very proud to have worked with him, knowing
viewed by modern day six-slring icons (Clapton, Beck, the lie did a lot of stuff with the latejimi I lendrix. It makes me
late Vaughan and Hendrix, to name a I'cw), he is left as the feel good to work around somebody th;il was alTiliated with
carrier of the blue torch. that man. I compare llcndrix with John Coltrane: they were
We caught up with Mr. Guy on one of his rare days off, just living beyond their time. A guy like Kddie, what he did with
two days prior to the commencement of a new European I lend rix, man . . . "

tour. As always, Ruddy talked enthusiastically about his latest

project: the recent album Slippin' In. This respect for others is typical of Buckly, who tui.s iilways
acknowledged his deep and heartfelt respect lor the people
'QG: "1 got some of Charles Brown's stuff on the new record who helped to shape and inllucnce his t'ormiclabk' style.
\Tronhlc' liliics and Pleusc Don't Drive Me Away, wilh J. Ervin|. S^-t "I think Muddy Waters, B.B. King, Howling Wolfcind
[ loved Charles Brown back in the early 50s; hopefully I can those people were the innucncr on dll of us. I mean I don't

** -

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Fender Frontline 13
 .^. ^

player. He was such a BG: "Didn't nobody steal it. I guess it was
showman! I said to myself too heavy to run with! A guitar you can
then: 'Hey, if I learn to snatch and run, but you can't run too fast
play any damn thing at all, with an amp. So, I've still got the original,
this is the way I want to play but right now I use two re-issue '59 Bassmans,
my guitar. I want to play it like and my Buddy Guy Signature Strat. That's
Guitar Slim.' about it. Sometimes I use a wah wah pedal,
"He would hit one note, and look like he and I've got an octave thing on this new
was saying, 'Here's my whole life dedicated album."

to this one note.' " "I got my fingers crossed on this album,
Slippin' In. I'm trying to be Buddy Guy, and
As we spoke, Buddy had just finished a run in the meantime trying to hopefully get the
of dates supporting the Rolling Stones, blues exposed as much as I can, which is an
probably the most influential band to draw uphill battle for me, because [I thought] 'any-
attention to the Chicago bluesmen whom thing that Muddy Waters or Howling Wolf
they revered. and Little Walter and them couldn't do,
B6: "When [the Rolling Stones] first came Buddy Guy couldn't do.'
here, people didn't even know who Muddy "But I was taught not to give up, and hope-
speak for anybody else, but what I'm saying Waters and Howling Wolf were. I must repeat fully I recorded a few licks that were good
is, those guys invented that electrified har- that. They [the Rolling Stones] came here [to enough for some people to say, 'Wow, this is
monica and guitar thing. I just named Muddy the U.S.A.] and said, 'You mean to tell us you worth playing.' "
because I was here in Chicago with him and I don't know who the great Muddy Waters is?
could see him every day if I wanted to, but I We named ourselves after one of his records: Does Buddy have any tips for younger players?
would say him, T-Bone Walker, Lightning Rolling Stone!' Then a lot of white Americans BG: "Yes. This may sound funny, but mine
Hopkins and all those people is where I got started to listen to Muddy Waters and Howl- would be: You can never keep your guitar in
all my stuff from. I haven't invented any- ing Wolf. your hands enough. Please believe me, the
thing; everything I've got is copied from "We also have to thank the British people more you keep it in your hands the better
those guys. for accepting Hendrix for what he was: Amer- you're gonna be. And please listen to the
"Matter of fact, they told me the same ica didn't want to hear that at that point in T-Bone Walkers, the Muddys, the B.B. Kings,
thing: they got their stuff from someone too, time. They ran him out of here with the wah the Eric Claptons, the Becks and all that. Just
but it was from these guys on the Saturday wah'pedal. They cut me off from the studio listen to everything that makes
Night fish fry who hadn't even made a record. because I was too loud in those days. Coming you tap your feet and you're gonna be pretty
We made the records, but everybody got to London for the first time, in '65, gave me a good at it. First of all you must love it to be
something from somebody. I got mine from such a boost." good at it.
them, and others might get some from me, "For the next two years they got me tour-
but if you want the truth, we all got it from Like Buddy's love for the blues, his penchant ing the world, and I'm just as happy as I
someone, from generation to generation. for Fender gear has never waned.For his could be about that. I want to take my blues
"The first one I saw was the late great Gui- amps, he goes for his old favorite, the tweed as far as I can go, because wherever Muddy
tar Slim, [who was] playing a Strat. That was Bassman 4x10. He still has his original one and the Wolf may be walking they can look
before I left home and came to Chicago. And from the 50s, which, unlike his guitars, was down and say, There's Buddy, we left
I didn't ever think I would be a good guitar never stolen. him but he's taking care of business.' "

14 Fender Frontline
 Junior Is
During Michael Laskow's
20-year tenure as an
engineer/producer, he
worked with Crosby, Stills,
Tele-pathic
Nash, and Young, Eric
Clapton, Cheap Trick,
and countless others. He's
a/50 the founder of TAXI, an
independent ASsR company bly sweet and
that links record labels with nasty distortion.
unsigned artists and
The Tele Jr. has
songwriters. You can reach
TAXI at 800-458-2111. the kind of raw
power you'd find
behind the wheel
of a '65 'Vette.
This guitar is
destined to
'here I was, staring aimlessly into my computer's blank monitor. I become the new
had developed writer's block. I've already told you how to get classic for the
great acoustic guitar sounds in the studio. Last issue I showed you alternative bands
how to make big amps sound small, and small amps sound bigger like the Gin
than life. What next? Blossoms, who
My phone rang. It was an old friend who wanted to know how to need an axe that
get really big, fat guitar sounds that he hears on records, but can't can provide a
seem to get out of his home studio. Fair enough. First stop: the bright picking
Fender hotline. As I reached for the phone, it rang. It was the guys sound (in the
from Fender! Coincidence, happenstance, or telepathy? verses) that's just a little bit south of distortion land, then rip your teeth
I'll put my money on telepathy because the next words I heard out in the choms. The Tele Jr. does both of those sounds better than
were, "Michael, we just shipped you a Telejr. to check out." any other single guitar I've road tested so far. After I got a whiff of
"What makes it so special? Is it smaller, lighter, faster, cheaper?" what these pickups were all about, I decided to try the Jr. on some
I asked. open tuning slide parts—again it's a winner.
"Well... really it's just plain fatter," they responded. Anyway, let's get back to the subject at hand: big, fat and
Alrighty then. chunky sounds on tape.
It arrived today, and even though I'm supposed to Start with a chunky sounding guitar and amp (see above for the
be writing about how to get big, fat guitar sounds, ax!). Adjust the settings so you like what's happening in the room
I'm going to digress for a second to tell you how itself. Loud is usually better because it turns the room into a giant
much I like this guitar. I don't get paid to speaker enclosure of sorts.
cram new Fender product down You need to mic the amp and the room. Mic the amp head-on
your throats. I'm supposed to from a few inches away (maybe right on the grill cloth) to get the
be informational and edge and definition. Use room mics (a condensor in omni works well
educational, but let for this) to capture the enormity. Many home recordists don't use
me be the first to enough room sound, thereby missing the "enormity" factor.
inform you that I You don't need an enormous room (have you ever noticed how
think Fender has cre- great you sound in a small club or your basement?). All you need to do
ated a new classic. is let the mics listen to the right combination of the direct (amp) and
This guitar's aesthet- reflected sounds (walls). A semi-reflective room works well. A room
1c beauty'tomes from its that is too reflective will give more bright edge and less bottom end.
simplicity. It's a two-tone Don't EQ the room mic (by adding top end) to get the same edge
sunburst, set-neck Tele with as the close mic. Let it be huge (bottom-heavy) and undefined. You'll
a rosewood fingerboard. Its need to experiment with the room mic(s) to find the right place to
aural beauty comes from the mic from. Have a friend walk around holding a live mic while you're
Try the Jr. fact that it has two powerful playing. Listen to what's happening in your headphones. I also rec-
on some pickups that are Seymour ommend using some compression to varying degrees—depending on
Duncan's version of the P-90's the sound you're trying to achieve.
open tuning
found in another guitar named Junior. Last, but not least, try splitting the sound (by stereo mics or digital
slide
These pickups have so much gain that they delay) and going stereo. You naturally hear in stereo (or bi-aurally)
parts...
drive an amp's front end into some incredi- in a room (because of the room), so why not do it on tape.

Fender Frontline 15
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 A comprehensive listing of every product
made by Fender Musical Instruments!
see page 23 for guide to abbreviations
JAGUAR ,21 Standard Series Chorus CLASSICAL BUITAR Straps
RAD,HOT, JAM Picks 0=
PRO AUDIO
STRING SETS....................27
JAZZMASTER. .21 Squier
a-
Nylon Classical FENDER-LACE SENSORS...........30
MUSTANG. .21 BASSAMPS.........................25
ELECTRIC BASS STRING SETS....27
MIXERS .............................17 Custom Amp Shop STRAP/STRAP ACCESSORIES.....30
Powered DUOSONIC. BXR Series
Nickelplated Steel Roundwound
Guitar Straps
Unpowered Stainless Steel Flatwound Strap Security Lock Systems
DESIGNER/SIGNATURE .21 KEYBOARD AMPS..................25
Stainless Steel Roundwound
POWER AMPS......................18 D'Aquisto Pure Nickel Roundwound GUITAR REPLACEMENT PARTS ..30
Robben Ford GUITAR SPEAKER ENCLOSURES..25 Nylon Tape Wound Vintage Hardware
CROSSOVERS.......................18 Nylon Filament Roundwound American Standard hardware
BASS SPEAKER ENCLOSURES ....25
SPEAKERS ..........................18 Electric Bajo Sexto Telecaster

INDIVIDUAL STRINGS—GUITAR ..27

pickguards
Fine Tune Locking Nuts

Acoustic
Stage Monitor Systems
Pickups
Main Systems Plain Gauged Singles
Accessories
PRECISION. GUITORS Pure Nickel Wound
Nickelplated Steel Roundwound
FLOYD ROSE PRODUCTS ..........30
Floyd Rose Bridges

Electric U.S. Vintage

Reissue DG SERIES ..........................26
80/20 Bronze Wound Nut assemblies
Replacement Arm Kits

ciiraRS INDIVIDUAL STRINGS—BASS.....28

American Standard
SX SERIES...........................26 Pure Nickel Roundwound AMPLIFIER PARTS.................31
Standard
Nlckelplated Steel Roundwound Amplifier Tubes
Fender Squier Series
STRATOCASTER....................19 NYLON STRING .....................26 Stainless Steel Roundwound Amplifier Hardware
U.S. Deluxe Series
U.S. Vintage Stainless Steel Flatwound
Contemporary Ssries
Reissue
Acoustic/Electric GUITAR AMP COVERS .............31

PICKS
Custom Classic Series
American Standard
American Standard Synth Ready JAZZ .22 GENERAL ACCESSORIES...........31
Standard U.S. Vintage Fender-Monster Cables
Fender Squier Series Reissue CELLULOID...„„„..„............. 28 Cleaning and Tuning Aids
U.S. Strat Plus Series American Standard
DG SERIES ..........................26 Books
Contemporary Series Standard
COIORPIC™........................ 28 Video
SX SERIES...........................26
Floyd Rose™ Classic Series U.S. Deluxe Series Guitar and Amp Stands
THUMB PICKS ......................28 Electronic Products
Floyd Rose Standard Series Custom Classic Series SPRING HILL........................26
Set Neck Series DELRIN""— MOLDED............... 28
Signature Series MB BASS. .23 ORIGINAL ACCESSORIES ..........31
NYLON STRING .....................26
Vintage Hardware
^ Classic Series SIGNATURE BASSES DELRIN™—MATTE ................28

STRINGS
.23 Hardware
Urge NYLON—MOLDED..................29
Pickguards
TELECASTER........................20 Roscoe Beck Fine Tune Locking Nuts
Pickups
U.S. Vintage ELECTRIC GUITAR PICKPACKS.........................29

AMPS
Reissue Fender-Lace Sensors
STRING SETS...................37 PICART™ SERIES..................29
American Standard
Pure Nickel Wound CASES...............................32
Standard

ACCESSORIES
Nickelplated Steel Roundwound Acoustic Guitar
Fender Squier Series GUITAR AMPS .23
Stainless Steel Roundwound Electric Guitar
U.S. Plus Series Custom Amp Shop
Stainless Steel Flatwound Bass Guitar
Contemporary Series Vintage Reissue Series
CUSTOM SHOP ACCESSORIES ....29 Gig Bags
Deluxe Tweed Series ACOUSTIC GUITAR Pickups Briefcases
Set Neck Series Professional Tube Series
STRING SETS....................27 Pickguards Effects Bag
U.S. Signature Series Performer Series
80/20 Bronze Wound Gig Bags
Custom Classic Series Standard Series

Send, Front Panel Patch Bay, Eff Out and Aux In Jacks, to all mix busses, Dual 10-band Graphic EQ w/ patching, LED

PRO AUDIO
Phono/RCA Tape In, Forced air cooling w/2-speed fan (except bar graphs for Main and Mon, Power amps: switchable
SR-4150P), Eff Out and Aux In level, Reverb; Models: (stereo, mono sum, or tape monitor), Peak/Compressor
LED's, Deltacomp™ compression, 2-speed fan; Other: built-in
\SH4150P
SR6300P roadcase/stand. Models:
071-2208 PX 2208D, 8 chnl, 2 x 150w/4 ohm
071-2207 PX 2208, 8 chnl, 2 x 150w/4 ohm, spring reverb
071-2212 PX 2012D, 12 chnl, 2 x 300w/4 ohm
071-2216 PX2216D,16chnl,2x300w/4ohm
MIXERS
UNPOWERED
POWERED Console
071-4100 SR4150P, 4chnl, 150w/4ohms
Portable LX-1506 MX 5232
071-6300 SR6300P, 6chnl, 300w/2 ohms
071-8300 SR8300P, Schnl, 300w/2 ohms
071-6521 SR6520P, 6chnl, 520w/2 ohms
071-8521 SR8520P, 8 chnl, 520w/2 ohms

Portable Consolek

PX2216D PX2208D

(USA) LX Series Powered Mixers. Channel: XLR lo-z mic &

1/4" ins, [Main, Mon, Eff/Rev] send levels, 2-band EQ; Out- (USA) The MX 5200 Series 4-submaster/stereo/mono mixers.
put: [Main, Mon, Eff/Rev send, Eff/Rev return (to Main & Optional VGA grouping, muting and automation, V.U. meter
Mon), Tape/Aux return (to Main & Mon)] levels, RCA tape bridge. Channel: Trim control w/Peak LED, 3-band EQ w/mid
ins, front panel patch bay, spring reverb; Power Amp: 150w/4 sweep, 2 Mon and 4 Aux Sends, Solo, Mute, Pan, Assign sws,
ohms; Models: comprehensive patching; Master: assignable parametric EQ,
071-1504 LX-1504, 4 channels 48V Phantom Power, SysFlex expansion ports, selectable [4
071-1506 LX-1506, 6 channels subs, stereo main and mono sum] operation, and much
more. Models:
PX2212D
(USA) The SR Series Powered Mixers. Features: Phantom 071-5216 MX 5216,16 channels
power, 9-band Graphic EQ, 3-band EQ per chnl, Deltacomp™ 071-5224 MX 5224, 24 channels
(USA) The PX 2200 Series stereo powered mixers. Channel:
Compression (switchable), High and Low balanced inputs, Trim w/Peak LED, 3-band EQ, 2 Aux and 2 Monitor Sends, 071-5232 MX 5232, 32 channels
XLR and 1/4" TRS jacks, Mon & Eff/Rev Sends, Master Mon Solo, Pan, patch jacks, XLR and 1/4" inputs; Master: digital
reverb/effects (except PX 2208), switchable 48V Phantom
Power w/LED, Separate Eff Send and 2 stereo Return controls

Fender Frontline 17
 woofers have polyimide Kapton voice coil bobbins w/cast
POWER AMPS alloy baskets, 40 x 90 degree horn, Titanium drivers w/cir- 1226 Mark II
cumferential ring phasing plugs, 30/60/90 tilt; Specs: 8 ohm,
95dB/1M/1wSens,300wpwrhndlng, black carpet; Models:
071-1282-100 1282 Mark II, 12" cast frame woofer 1225 Mark II
w/2.5" coil, 60-20kHz resp ±3dB, 122dB
SPL max out
071-1285-100 1285 Mark II, 15" cast frame woofer w/3"
coil, 50-20kHz response ±3dB, 123dB SPL
(USA) The SPL-6000 and SPL-9000 Power Amps. Features:
max output, 4th order Linkwitz-Riley
computer controlled protection, silent delayed turn-on/off, 2- crossover, dual Neutrik Speakon™ & 1/4"
speed fan, Triac "crowbar" speaker protection, high current
phone connectors, built-in pole mount,
design for reactive speaker loads, soft clipping, gracious over- optional removable lid with rolling casters.
load; Convenience: rear stereo-mono and mono-bridge mode 1225 Mark II and 1226 Mark II two-way speaker systems.
071-1282-107 1282 Mark II Lid, w/casters
switches, [TRS phone; male & female XLR] inputs, high cur- Features: heavy duty cast-frame 15" woofers w/3" voice coil
071-1285-107 1285 Mark II Lid, w/casters
rent 5-way binding posts & phone jack outputs; Models: on Kapton former, titanium compression driver w/1" exit CD
071-6000 SPL-6000, 2-rack spc, selectable Deltacomp™ horn, bypassable 4th order Linkwitz/Riley passive x-over,
MAIN SYSTEMS
compressor w/LED's, Stereo: 300w/ 4 ohms; trapezoidal cabinet, metal grill, black carpet covering. Specs:
Artist Series 38-20kHz response, 8 ohm, 1 OOdB/1 M/1 w Sens; Models:
Mono Bridge: 600w/8 ohms; THD < 0.01%/8
Two-way speaker systems. Features: 10" woofer, dual FPZ 071-1225-100 1225 Mark II, one woofer, 400w pwr hndlng
ohms, < 0.025%/4 ohms
drivers/dual element horn, metal grill. Specs: 60-20kHz 071-1226-100 1226 Mark II, two woofers, 800w pwr
071-9000 SPL-9000, 3-rack spc, Stereo: 330w/8 ohms,
response ±6dB, 94dB/1M/1w Sens, 114dB SPL max out,
450w/4 ohms; Mono Bridge: 900w/8 ohms; hnd^^
200w pwr hndlng; Models:
THD < 0.05%/8 ohms, < 0.059%/4 ohms Tour Series
071-1110-100 1110-A, black tolex covering, 16ohm
The Tour Series professional arrayable loudspeakers are top-
071-1100-000 110-ELC, trapezoidal cabinet, industrial
(USA) The SPL-M300 Monitor Power Amp is specifically of-the-line speaker systems perfect for even the most
black carpet covering, 8 ohm
designed to eliminate feedback. Features: 2-rack spc, 300w/2 demanding concert sound applications. In conjuction with the
ohm, input level slide controls, 3-band sweepable notch filter, Fender-RigSafe rigging and flying hardware, they are adapt-
1205-A
sweepable low and high pass filters, 2-speed fan cooling, able enough to be used in any situation. Models:
DeltaComp™ compression, patch points between control sec-
tion and amp (for bi-amping stage monitors); Models:
071-3000 SPL-IV1300, Monitor Amplifier

CROSSOVERS
PCN2 (top) ]
PCN4 (bottom
Mounting
pole for
Two-way speaker systems. Features: 12" woofer, dual FPZ 215s
drivers/dual element horn, metal grill. Specs: 60-20kHz
response ±6dB, 8 ohm, 95dB/1M/1w Sens, 200w pwr hndlng;
Models:
(USA) PCN series electronic crossovers are 24dB/octave 071-1201-100 1201-A, black tolex covering
Linkwitz/Reiley units. Features: rackmountable, front panel 071-1200-000 112-ELC, trapezoidal cabinet, industrial
215s
controls, CD horn boost sw, balanced XLR in/out, security black carpet covering 118s
covers; Models: 115-ELC
071 -5510 PCN2, Stereo 2-way/Mono 3-way 112-ELC
071-5520 PCN4, Stereo 3-way/Mono 4-way, phase reverse
110-ELC
and mute sws on all bands
071-1310 118s, 18" cast frame sub-woofer w/4" voice coil,

SPEAKERS 1200w short term/600w long term power han-

dling (program)
071-1320 215s, two 15" cast frame woofers w/4" voice
STAGE MONITOR SYSTEMS
coils, 2800w short term/1600w long term power
Artist Series
handling (program)
1272A and 1275A Monitors. Features: sealed baffle, woofers 071-1330 2912, 12" cast frame woofer w/3" voice coil, CD
w/polyimide Kapton voice coil bobbins, wide angle horns horn, 400w short term/200w long term power
w/dual drivers, Daisy-chain inputs, level controls, 30/60/90 Two-way speaker systems. Features: 15" woofer, dual FPZ
handling)
tilt; Specs: 60-20kHz response ±6dB, 16 ohm, 95dB/1M/1w drivers/dual element horn, metal grill. Specs: 60-20RHz
071-1340 2915,15" cast frame woofer w/4" voice coils, CD
Sens, 115dB SPL max out, 200w power handling; Models: response ±6dB, 8 ohm, 95dB/1M/1w Sens, 300w pwr hndlng;
horn, 500w short term/250w long term power
071-1272-100 1272-A, 12" woofer, dual horn, blk carpet Models:
handling
070-2832-100 1272-A, 12" woofer, dual horn, blk Tolex 071-1205-100 1205-A, black tolex covering
071-1359 Mounting Pole, for 215s
071-1275-100 1275-A, 15"wooferw/2.5"coil, blk carpet 071-1500-000 115-ELC, trapezoidal cabinet, industrial
black carpet covering
<l282 Mark II ACCESSORIES
(USA) EFX series racks hold your rack mount equipment
1272-A SPL Series securely and safely; Models:
1211 Mark II two-way speaker systems. Features: bi-ampable 071-1902 RX1902, 2-space rack
or NP-range operation, heavy duty 15" woofer, titanium com- 071-1904 RX1904,4-space rack
pression driver/constant directivity horn, metal grill. Specs: 071-1906 RX 1906, 6-space rack
50-20kHz response ±6dB, 8 ohm, 95dB/1M/1w Sens, 300w 071-1908 RX 1 908, 8-space rack
pwrhndlng; Models: 071-1912 RX1912,12-spacerack
071-1211-100 1211 Mark II, black carpet covering
070-2825-100 1211 Mark II, black tolex covering (USA) The Amp Series Cases include removable, latching front
and rear covers, casters, front and rear rack rails; Models:
1275-A 071-1909 RX-1928, 8 spaces
071-1913 RX-1922,12 spaces
1285 Mark II
SPL Series 071-1917 RX-1926,16 spaces
1282 Mark II, 1285 Mark II Monitors. Features: Biampable or
full-range passive operation, Biamp defeat sw, vented baffle, (USA) The ST-75 tripod stand raises speakers for max disper-
sion. Specs: anodized aluminum alloy tubing, 75 Ib. capacity,
79" max height; Models:
18 Fender Frontline
071-0270 ST-75 Speaker Stand
 satin finish, 22 Am Std (medium jumbo) frets, 9.5" rad, E- (bridge), Vol, TBX, special switching; Other: LSR nut, locking

Electric
tronics: Roland pickup, Roland GK 2 system, 3 Am Std SC keys, Fender-Floyd Rose lckng trem, wht shell pckgrd; Models:
pu's, Mid pu is reverse polarity/reverse wound for quiet oper- 110-9200 Contemporary Strat, RW frtbrd

GUIURS
110-9202 Contemporary Strat, Mpl neck
<
ation w/Bridge or Neck pu's, 5-pos. ssw, Tone (Neck pu), TBX
(bridge, Mid pu's); Other: Am Std trem w/Stnlss Stl saddles; 110-9270 Contemporary Strat FIVIT, same as 110-9200
Models:
010-7460 American Standard Strat GR Ready, RW frtbrd
except with highly figured MPLtop
110-9272 Contemporary Strat FMT, same as 110-9202
tt
010-7462 American Standard Strat GR Ready, Mpl neck except with highly figured MPL top

STANDARD (USA) Based on successful Imited edition versions. Body:

STRATOCASTER® Standard versions of Fender's classics. Body: Poplar (except light ash w/highly figured bookmatched carved Mpl top; Neck: 00
027-4620); Neck: "shallow U" shape, satin finish, 21 vintage lightly-figured Mpl, 22 Am std frets, 9.5" rad; E-tronics: HB pu BE
frets, 9.5" rad; E-tronics: 3 SC pu's, 5-pos. ssw; Other: vin-
tagetrem; Models:
w/coil splitter sw (bridge), 2 "Texas Special" SC pu's (neck,
mid), Duncan JB HB pu (bridge), Vol, TBX, special switching;
s
013-4602 Standard Stratocaster, Mpl neck Other: LSR nut, locking keys, Fender-Floyd Rose lckng trem, cs
013-4600 Standard Stratocaster, RW frtbrd center pocket Tweed case w/red plush lining; Models:
027-4620 Standard Stratocaster, RW frtbrd, left-hndd, 110-9000 Carved Top Strat, RW frtbrd
Basswood body 110-9002 Carved Top Strat, Mpl neck

FENDER SQUIER SERIES

U.S. VINTAGE Fender Squier Series instruments are affordable, fine quality
(USA) U.S. Vintage instruments are excellent recreations of versions of Fender's standard models. Body: Poplar, classic i r
Fender's most famous models. Body: Classic shape, nitrocel- Stratocaster shape; Neck: 21 vintage frets, 9.5" rad; E-tron-
lulose lacquer finish; Neck: medium, 21 vintage (small) frets, Floyd Rose Classic
ics: 3 SC pu's, 5-pos. ssw, Vol, 2 Tone; Other: vintage style
7.25" rad; E-tronics: 3 American vintage staggered pole SC Stratocaster
tremolo; Models:
pu's, cloth wrapped wire, 3-pos. ssw (comes w/5-pos. ssw 013-3602 Fender Squier Series Stratocaster, Mpl neck
kit), 1 Tone (neck pu), 1 Tone (Mid pu); Other: ncklpltd 013-3600 Fender Squier Series Stratocaster, RW frtbrd
hrdwr, vintage trem; Models: 013-3620 Fender Squier Series Stratocaster, same as FLOYD ROSE™ CLASSIC SERIES
010-0908 '57 Stratocaster, mpl neck, Alder body, sgl-layer 013-3600, except left-hndd (USA) The Floyd Rose Classic Series features Fender's classic
pckgrd, "skunk stripe" on back of neck, hdstck guitars updated with some modern innovations. Body: Alder;
plug U.S. STRAT PLUS SERIES Neck: 22 std frets, 9.5" rad; E-tronics: DiMarzio Custom PAF
010-0909 '62 Stratocaster, RW slab frtbrd, Alder body, (USA) Strat Plus guitars are designed to better address Pro HB pu (bridge), 2 Am Std SC pu's, Vol, 2 Tone (Neck,
tri-lam (W/B/W) pckgrd today's players. Body: Alder; Neck: satin finish, 22 Am Std Mid), special 5-pos. ssw; Other: vintage tuners, chrm Floyd
(Ig) frets, Bi-flex truss rod; E-tronics: 3 FLS's, 5-pos. ssw, Rose Original dbl-lckng tremolo system; Models:
REISSUE Tone-neck pu, TBX-Bridge & Mid; Other: LSR roller nut, lckng 110-6000 Floyd Rose Classic Stratocaster, RW frtbrd
Reissue instruments capture the style of classic models from keys, Hipshot™tremsetter; Models: 110-6002 Floyd Rose Classic Stratocaster, Mpl neck
the past. Body: Basswood, classic shape; Neck: 21 frets, 7.25" 010-7502 Strat Plus, mpl neck, 3 Gold FLS, Am Std trem
rad; E-tronics: Volume, 2 Tone, 3 SC pu's, 5-pos. ssw; Other: 010-7500 Strat Plus, RW frtbrd, 3 Gold FLS, Am Std trem FLOYD ROSE STANDARD SERIES
ncklpltd hdwr, vintage trem; Models: 110-9502 Deluxe Strat Plus, same as 010-7502, except The Floyd Rose Standard Series offers affordability with hot
027-5902 '72 Stratocaster, large hdstck, u-shaped Mpl Red FLS (Bridge), Silver FLS (Mid), Blue FLS features. Body: Strat shape; Neck: 21 jumbo frets; E-tronics:
neck, bullet truss rod, tri-lam (W/B/W) pckgrd (Neck), Fender/Floyd Rose locking tremolo 1 HB pu (bridge), 2 SC pu's, 5-pos. ssw, Vol; Other: Floyd
027-9202 '68 Stratocaster, large hdstck, u-shaped Mpl bridge, Ash top and bottom body laminates, Rose II dbl-lcking tremolo system; Models:
neck, tri-lam (W/B/W) pckgrd shell pckgrd 125-5000 Floyd Rose Standard Stratocaster (foto flame),
027-9222 '68 Stratocaster (left-handed), same as 027- 110-9500 Deluxe Strat Plus, same as 010-7500, except Basswood body, RWfrtbrd, 12" rad, Tone
9202 except left-handed Red FLS (Bridge), Silver FLS (Mid), Blue FLS 113-1100 Floyd Rose Standard Stratocaster, Poplar body,
027-9102 "Paisley" Strat, large hdstck, u-shaped Mpl (Neck), Fender/Floyd Rose locking tremolo RW frtbrd, 9.5" rad, 2 Tone (Neck, Mid)
neck, sgl-layer clear pckgrd bridge, Ash top and bottom body laminates, 113-1102 Floyd Rose Standard Stratocaster, Poplar body,
025-6200 60s Stratocaster, u-shaped neck w/RW slab frt- shell pckgrd Mpl Neck, 9.5" rad, 2 Tone (Neck, Mid)
brd, tri-lam (W/B/W) pckgrd
025-1000 Foto-Flame Stratocaster, Alder body w/Bass- (USA) The U.S. Strat Ultra is the ultimate version of the Strat SET NECK SERIES
wood Foto-Flame cap, Foto-Flame neck w/RW Plus series. Body: Alder w/figured Mpl top & back; Neck: nat- (USA Custom Shop) Set Neck Series guitars offer the highest
slab frtbrd, 60s styling ural satin finish, Ebony frtbrd, 22 jumbo frets, Bi-flex truss quality to the discriminating player. Body: Honduras
025-5702 50s Stratocaster, v-shaped Mpl neck, sgl-layer rod; E-tronics: Blue FLS (neck), Gold FLS (mid), dual Red FLS Mahogany w/bkmtchd highly figured Mpl top; Neck: Ebony
pckgrd, "skunk stripe" on back of neck, hdstck (bridge) w/3-pos. mini toggle, special 5-pos. ssw, Tone-neck frtbrd, 22 std frets, 12" rad; E-tronics: Vol, TBX, special 5-pos.
plug pu, TBX-Bridge & Mid; Other: Fender/Floyd Rose locking ssw; Models:
tremolo bridge, Chrome LSR roller nut, lckng keys, shell pck- 010-2500 Set Neck Stratocaster, 4 Fender-Lace Sensors
AMERICAN STANDARD grd; Models: (Blue-neck, Gold-mid, dbl Red-bridge), Tone
(USA) American Standard Series instruments are modern ver- 110-9800 U.S.Strat Ultra (Neck), Strat Deluxe Tremolo system
sions of Fender's classic models. Body: Alder, classic shape; 110-2600 Set Neck Floyd Rose Stratocaster, DiMarzio
Neck: satin finish, 22 Am Std (medium jumbo) frets, 9.5" rad, CONTEMPORARY SERIES Custom PAF Pro HB pu (bridge), 2 Am Std SC
E-tronics: 3 Am Std SC pu's, Mid pu is reverse polarity The Strat XII is a recreation of a classic Stratocaster, except pu's, Floyd Rose Pro dbl-lckng tremolo system
/reverse wound for quiet operation w/Bridge or Neck pu's, 5- with 12 strings. Body: Alder; Neck: RW frtbrd, 22 std frets,
pos. ssw, Tone (Neck pu), TBX (bridge, Mid pu's); Other: Am 7.25" rad; E-tronics: 3 SC pu's, Vol, 2 Tone (neck, mid), 5- SIGNATURE SERIES
Std trem w/Stnlss Stl saddles; Models: pos. ssw; Other: special 12-string bridge; Models: (USA) The Clapton model was designed under the direction of
010-7402 American Standard Stratocaster, Mpl neck 027-8900 Strat XII guitar great Eric Clapton. Body: Alder; Neck: Special v-shape,
010-7400 American Standard Stratocaster, RW frtbrd satin finish, 22 Am Std frets, 9.5" rad; E-tronics: 3 Gold FLS's,
010-7422 American Standard Stratocaster, same as 010- (USA) Special Series instruments are carefully updated ver- active Mid boost (25dB), master TBX; Other: vintage tuners,
7402, except left-hndd sions of Fender's Vintage models. Body: Poplar w/Ash veneer; vintage trem (blocked); Models:
010-7420 American Standard Stratocaster, same as 010- Neck: oval shape, 22 Am std frets, 9.5" rad; E-tronics: HB pu 010-7602 EricClapton
7400, except left-hndd w/coil splitter sw (bridge), 2 SC pu's, Vol, TBX, 5-pos. ssw;
Other: blk hrdwr, vintage bridge; Models: (USA) The Beck model is the culmination of Jeff Beck's ulti-
013-5600 Strat Special, RW frtbrd mate guitar features. Body: Alder; Neck: Pao Ferro frtbrd,
013-5602 Strat Special, Mpl neck Special deep '50's shape, satin finish, 22 Am Std frets, 9.5"
rad; E-tronics: 2 Gold FLS's [neck, mid], dual Gold FLS

American Standard
(USA Custom Shop) Downsized modern guitars designed for [bridge] with sgl/dbl sw, Tone (neck), TBX (bridge, mid);
"virtuoso" rockers. Body: Alder, down-sized shape w/con- Other: locking keys, roller nut; Models:
Strat GR Ready
toured heel; Neck: lightly-figured Mpl, oval shape, 22 Am std 010-9600 Jeff Beck
frets, 9.5" rad; E-tronics: HB pu w/coil splitter sw (bridge), 2
"Texas Special" SC pu's (neck, mid), Duncan JB HB pu
AMERICAN STANDARD SYNTH READY
(USA) Connects directly to Roland guitar synths and other
new electronic products. Body: Alder, classic shape; Neck: Fender Frontline 19
(USA) Yngwie Malmsteen's model incorporates all of his hdstck, brown shell pckgrd, gold plush/Brown Tolex case; Reissue instruments capture the style of classic models from
favorite features. Body: Alder; Neck: special "U" shape, scal- Models: the past. Body: Basswood, Paisley finish; Neck: Mpl, 21 vin-
loped frtbrd, 9.5" rad, 21 vintage frets, satin finish; E-tronics: 010-6000 1960Stratocaster tage frets, 7.25" rad, tinted finish; E-tronics: 2 SC pu's, 3-pos
2 Di-Marzio HS-3 pu's (Neck & Bridge), 1 Am Std SC with 010-6070 1960 Stratocaster, same as 010-6000 except ssw; Other: vintage tuners, vintage bridge w/3 Brass barrel
reverse winding/polarity, ITBX-neck, 1 TBX-Mid & Bridge; w/highly figured Mpltop saddles, ncklpltd hrdwr; Models:
Other: Brass nut, Am Std trem, Vintage tuners; Models: 027-4902 "Paisley" Tele
010-7702 Yngwie Malmsteen, Mpl neck (USA Custom Shop) American Classic Series instruments are
010-7700 Yngwie Malmsteen, RW frtbrd Custom Shop versions of Fender's American Standard Series Reissue instruments capture the style of classic models from
models. Body: classic shape; Neck: satin finish, 22 Am Std the past. Body: RW; Neck: RW, 21 vintage frets, 7.25" rad; E-
(USA) The Stevie Ray Vaughan Signature Model respectfully frets, 9.5" rad, E-tronics: 3 "Texas Special" SC pu's, Mid pu is tronics: 2 SC pu's, 3-pos ssw; Other: vintage tuners, Tri-lam
.reproduces Stevie's unique guitar. Body: Alder; Neck: "Oval" reverse polarity/reverse wound for quiet operation w/Bridge (B/W/B) pckgrd, vintage bridge w/6 individual saddles,
shape, Pao Ferro frtbrd, 12" rad, 21 Am Std frets, vintage tint or Neck pu's, 5-pos. ssw, Tone (Neck pu), TBX (bridge, Mid ncklpltd hrdwr; Models:
finish; E-tronics: 3 "Texas special" SCs, 5-pos ssw,Vol, 2 pu's); Other: Am Std trem w/Stnlss Stl saddles; Models: 027-4800 Rosewood Tele
Tone (Mid, Neck); Other: left-hnd vintage style tremolo, 010-4702 American Classic Stratocaster, Mpl neck
B/W/B pckgrd w/ wht knobs & pu covers, "SRV" initials in 010-4700 American Classic Stratocaster, RW frtbrd Reissue instruments capture the style of classic models from
pckgrd, gldpltd hrdwr; Models: the past. Body: Basswood; Neck: 21 vintage frets, 7.25" rad,
010-9200 Stevie Ray Vaughan (USA Custom Shop) Left hand versions of vintage classics. tinted finish; E-tronics: 2 SC pu's, 3-pos ssw; Other: vintage
Body: classic shape; Neck: medium, 21 vintage frets, original tuners, vintage bridge w/3 barrel saddles, ncklpltd hrdwr,
(USA Custom Shop) The Robert Gray Signature Model is a dot spacing, 9.5" rad; E-tronics: 3 "Texas Special" SC pu's, 5- round string retainer; Models:
faithful recreation of Robert's favorite '59 Stratocaster. Body: pos. ssw,1 Tone (neck pu), 1 Tone (Mid pu); Other: ncklpltd 025-5602 50s Telecaster, Mpl neck, sngl-ply wht pckgrd
Alder; Neck: "Oval" shape, RW frtbrd, 9.5" rad, 21 vintage hdwr, vintage trem, center pocket red plush/Tweed case; 025-1100 Foto-Flame Telecaster, Alder body w/Basswood
frets, vintage tint finish; E-tronics: 3 custom vintage SCs, 5- Models: Foto-Flame cap, Mpl Foto-Flame neck w/RW slab
pos ssw, Vol, 2 Tone (Mid, Bridge); Other: Non-trem bridge; 010-5722 '57 Stratocaster (left handed), mpl neck, sgl- frtbrd, 60s styling
Models: layer pckgrd, soft "U" shaped neck
010-9100 Robert Gray 010-6220 '62 Stratocaster (left handed), RW slab frtbrd, AMERICAN STANDARD
aged (W/B/W) pckgrd (USA) American Standard Series instruments are modern ver-
(USA Custom Shop) The Dick Dale Signature Model is a lov- sions of Fender's classic models. Body: Alder; Neck: 22 Am
ing recration of the Surf King's twangy Stratocaster. Body: SQUIER Std frets, 9.5" radius, satin finish, Bi-flex truss rod; E-tronics:
Alder; Neck: "Oval" shape, RW frtbrd, 9.5" rad, 21 vintage Squiers are economically-priced guitars with classic Fender 2 Am Std SC pu's, 3-pos. ssw, Vol, TBX; Other: Schaller
frets, vintage tint finish; E-tronics: 3 custom vintage SCs, 5- features. Body: classic Stratocaster shape; Neck: RW frtbrd, chrome tuners, Am Std (individually adjustable, stainless
pos ssw, Vol, 2 Tone (Mid, Bridge); Other: reverse headstock, 10" rad; E-tronics: 3 SC pus, 5-pos. ssw, Vol, 2 Tone; Other: steel) bridge saddles; Models:
vintage tremolo; Models: vintage-style tremolo; Models: 010-8402 American Standard Tele, Mpl neck
010-6100 Dick Dale 033-6100 Standard Stratocaster, 21 frets 010-8400 American Standard Tele, RW frtbrd
033-0600 Bullet SRS Stratocaster, 22 frets 010-8422 Left-hndd American Standard Tele, Mpl neck
(USA) The Richie Sambora Signature Model boasts many fea-
tures demanded by hot rock players. Body: Alder; Neck: Mpl, STANDARD
"star" inlays, 12" rad, 22 Am Std frets, satin finish; E-tronics: TELECASTER® Standard versions of Fender's classics. Body: Poplar; Neck:
mid-range boost sw, 2 "Texas special" SC pu's (neck, mid), 1 Mpl, 21 frets, 9.5" rad, skunk stripe; E-tronics: 2 SC pu's, 3-

L^^w'
DiMarzio Pro PAF (bridge), 5-pos ssw.Vol, Tone (Neck), TBX r^yS'A^- pos. ssw, Vol, Tone; Other: sngl-ply wht pkgrd, bridge w/indi-
(Mid, Bridge); Other: Floyd Rose Original dbl-lckng tremolo vidually adjustable saddles, chrmpltd hrdwr; IVIodels:
system; Models: 013-5202 Standard Telecaster
'52 Telecaster
110-2700 Richie Sambora
FENDER SQUIER SERIES
(USA) The Richie Sambora Standard Signature Model is a Fender Squier Series instruments are affordable, fine quality
very affordable version of his signature guitar. Body: Alder; versions of Fender's standard models. Body: Poplar, classic
U.S. VINTAGE
Neck: Mpl, 9.5" racl, 21 Am Std frets, satin finish; E-tronics: 2 Telecaster shape; Neck: Mpl, 21 frets, 9.5". rad; E-tronics: 2
(USA) U.S. Vintage instruments are excellent recreations of
SC pu's (neck, mid), 1 DiMarzio Pro PAF (bridge), 5-pos ssw, SC pu's, 3-pos. ssw, Vol, Tone; Other: vintage style bridge;
Fender's most famous models. Body: Ash, Butterscotch Blond
Vol, Tone (Neck), TBX (Mid, Bridge); Other: Floyd Rose II dbl- nitrocellulose lacquer finish; Neck: 21 vintage frets, 7.25"
Models:
lckng tremolo system; Models: 013-3202 Fender Squier Telecaster
radius, tinted nitrocellulose lacquer finish; E-tronics: Ameri-
113-2700 Richie Sambora Standard
can vintage pu's, cloth wrapped wire (in electronics), 3-pos
U.S. PLUS SERIES
ssw (bridge pu/neck pu/neck pu w/capacitor); Other: vintage
(USA) The Bonnie Raitt Signature model emulates her favorite (USA) Tele Plus guitars are designed to better address today's
tuners, sngl-ply blk bake-o-lite pckgrd, vintage bridge w/3
guitar. Body: light ash; Neck: special narrow shape, RW frt- players. Body: Ash or Alder, Ash Top & Back; Neck: natural
Brass barrel saddles, ncklpltd hdwr; Models:
brd, 9.5" rad, 22 Am Std frets; E-tronics: 3 "Texas special" SC satin finish, 22 jumbo frets, Bi-flextruss rod; E-tronics: 1 Blue
010-1303 '52 Telecaster
pu's, 5-pos ssw, Vol, 2 Tone (Neck, Mid); Other: large mid FLS (neck), dual Red FLS's w/3-pos mini toggle (bridge), 3-
60s headstock, wht shell pckgrd; Models: REISSUE
pos. ssw, Vol, TBX; Other: chrmpltd hrdwr; Models:
010-9300 BonnieRaitt 010-8502 Tele Plus; mpl neck
Reissue instruments capture the style of classic models from
010-8500 TelePlus/RWfrtbrd
the past. Body: semi-hollow w/F-hole, Ash, natural finish;
(USA) The Buddy Guy Signature model was designed for red- Neck: Mpl, 21 vintage frets, 7,25" rad; E-tronics: 2 HB pu's,
hot blues players. Body: light ash; Neck: Mpl, 9.5" rad, 22 Am CONTEMPORARY SERIES
Vol, Tone, 3-pos ssw; Other: vintage tuners, wht shell pckgrd,
Std frets, vintage tint; E-tronics: 3 special SC pu's, active mid (USA) Special Series instruments are carefully updated ver-
non-trem Strat bridge, ncklpltd hrdwr, "bullet" truss rod;
boost, 5-pos ssw, Vol, 2 Tone (Neck, Mid); Other: vintage sions of Fender's Vintage models. Body: Poplar; Neck: Mpl,
Models:
trem, brwn shell pckgrd; Models: oval shape, 22 Am std frets, 9.5" rad; E-tronics: HB pu (neck),
027-3202 '72 Telecaster Thinline
010-7802 Buddy Guy reverse-wound SC (bridge), special 5-pos. ssw, Vol, TBX;
Other: chrmpltd hrdwr, vintage bridge; Models:
Reissue instruments capture the style of classic models from
CUSTOM CLASSIC SERIES 013-5502 Telecaster Special
the past. Body: Mahogany, semi-hollow w/F hole; Neck: Mpl,
(USA Custom Shop) The 1954 Stratocaster is a recreation of 21 vittfage frets, 7.25" radius; E-tronics: 2 SC pu's, 3-pos
that classic model. Body: Ash; Neck: lightly fgrd Mpl, "soft V" DELUXE
ssw; Other: vintage tuners, wht shell pckgrd, vintage bridge
shape, original dot spacing, 21 vintage frets, 9.5" rad; E-tron- A modern version of Fender's classic. Body: Tele shape
w/3 saddles, ncklpltd hdwr; Models:
ics: 3 SC Custom Shop '50's pu's w/beveled magnets, Vol, 2 w/Strat-style body contours, Alder w/Foto-flame Basswood
027-7702 '69TelecasterThinline
Tone; Other: center pocket red plush/Tweed case; Models: cap; Neck: Foto-flame Mpl w/RW frtbrd, 21 frets, 9.5" rad; E-
010-5402 1954Stratocaster tronics: 2 vintage Strat-style SC pu's (neck, mid), vintage
Reissue instruments capture the style of classic models from
010-5472 1954 Stratocaster FMT, same as 010-5402 Tele-style pu (bridge), 5-pos. ssw, Vol, Tone; Other: modern
the past. Body: Basswood, wht binding; Neck: Mpl, 21 vintage
except w/highly figured Mpl top tele bridge w/6 individual saddles, wht shell pckgrd; Models:
frets, 7.25" radius, tinted finish; E-tronics: 2 SC pu's, 3-pos
025-9000 90s Telecaster Deluxe Foto-Flame
ssw; Other: vintage tuners, 3-ply (w/b/w) pkgrd, vintage
(USA Custom Shop) The 1960 Stratocaster is a recreation of
bridge w/3 saddles; Models:
that classic model. Body: Alder; Neck: lightly fgrd Mpl w/RW 027-5100 '62 Custom Telecaster
SET NECK SERIES
frtbrd, "C" shape, gloss finish, 21 vintage frets, 9.5" rad; E- (USA Custom Shop) Set Neck Series guitars offer the highest
027-5120 '62 Custom Telecaster, same as 27-5100 except
tronics: 3 "Texas Special" SC pu's, Vol, 2 Tone; Other: painted quality to the discriminating player. Body: Honduras
left handed
Mahogany w/1/4" bookmatched highly figured Mpl top and
Ivoroid binding; Neck: 22 jumbo frets, 12" rad; E-tronics: 2
20 Fender Frontline
custom DiMarzio HB pu's, 3-pos. ssw, Coil Cut mini toggle, tuners, sngl-ply blk bake-o-lite pckgrd, vintage bridge w/3
Vol, TBX; Models: Brass barrel saddles, ncklpltd hdwr, Black plush Tolex case; MUSTANG
010-3600 Set Neck Telecaster, Pao Ferro frtbrd, Chrm Models:
hrdwr 010-6802 Sparkle Telecaster, Mpl neck
010-3900 Set Neck Telecaster "CA", Honduras Mahagony 010-6800 Sparkle Telecaster, RW frtbrd
neck w/Ebony frtbrd, Am Std Tele bridge, Am
Std Tele pu (bridge) (USA Custom Shop) The Bajo Sexto is a unique Telecaster
"baritone" guitar. Body: Ash, tinted nitrocellulose lacquer fin-
ish; Neck: Mpl, "C" shape, 30.2" baritone scale, 24 vintage
frets, 9.5" rad, tinted nitrocellulose lacquer finish; E-tronics:
The Mustang is a reissue of Fender's deluxe 24" short-scale
"Texas Special" Tele pu's, cloth wrapped wire (in electronics),
guitar from the 60s. Body: Basswood; Neck: RW frtbrd, 22 W
3-pos ssw (bridge pu/neck pu/neck pu w/capacitor); Other: frets, 7.25" rad; E-tronics: 2 sgl-coil pu's, on-off slide sw for .S Bc
vintage tuners, sngl-ply blk bake-o-lite pckgrd, vintage bridge each pu, Vol, Tone; Other: Mustang Dynamic vibrato; Models: 'S ?
w/3 Brass barrel saddles, ncklpltd hdwr, Black plush Tolex 027-3700 Mustang ^
case; Models:
cs
(USA Custom Shop) Delivers a powerful "fat" Telecaster gui- 010-4002 Bajo Sexto Telecaster
tar sound. Body: Honduran mahogany, 11 tone chambers; DUOSONIC
Neck: 22 jumbo frets, 9.5" rad; E-tronics: Duncan "Hot Soap- (USA Custom Shop) Left-hand version of vintage classic.
bar" SP90-2 pu (neck), Duncan "Hot Soapbar" SP90-3 pu Body: Ash, Butterscotch Blond nitrocellulose lacquer finish;
(bridge), 3-pos. ssw, Vol, Tone; Other:; Models: Neck: lightly fgrd Mpl, "soft V" shape, 21 vintage frets, 9.5"
010-3400 TeleJr. rad, tinted nitrocellulose lacquer finish; E-tronics: "Texas Spe-
cial" Tele pu's, cloth wrapped wire (in electronics), 3-pos ssw
U.S. SIGNATURE SERIES (bridge pu/neck pu/neck pu w/capacitor); Other: vintage
(USA) The James Burton Telecaster guitar was designed tuners, sngl-ply blk bake-o-lite pckgrd, vintage bridge w/3
under the direction of famous picker James Burton. Body: Brass barrel saddles, ncklpltd hdwr, Red plush Tweed case;
Poplar; Neck: Mpl, natural satin finish, special "oval" shape, Models: The Duosonic guitar revisits Fender's original short-scale
21 vintage frets, 9.5" rad; E-tronics: 1 Blue FLS (neck), 1 Sil- 010-5222 -52 Telecaster (left-hndd) electric from the 50s. Body: Poplar; Neck: Mpl, 20 frets, 9.5"
ver FLS (mid), 1 Red FLS (bridge), special 5-pos. ssw, Vol- rad; E-tronics: 2 sgl-coil pu's, 3-pos toggle, Vol, Tone; Models:
ume, Tone; Other: Gold or Black hrdwr (depending on body (USA Custom Shop) Designed for 12-string electric players 013-3700 Duosonic
color), Schaller (Gold or Black) chrome tuners, Am Std who want the feel of a Telecaster guitar. Body: 2-piece, light
bridge; Models: ash; Neck: lightly-figured Mpl, "C" shape, 21 vintage frets,
010-8602 James Burton Telecaster 9.5" radius; E-tronics: "Texas Special" Tele pu's w/series DESIGNER/SIGNATURE
wiring, 3-pos ssw); Other: vintage-style 12-string bridge;
(USA Custom Shop) The Danny Gatton Telecaster guitar is a Models:
D'AQUISTO
faithful recreation of Danny's heavily modified early 50s 010-4102 TelecasterXII
model. Body: Light Ash; Neck: Mpl, special finish, Zirconian
side dot markers, 22 vintage frets, 9.5" rad; E-tronics: 2 Bar- (USA Custom Shop) American Classic Series instruments are
den custom SC pu's, 3-pos. ssw, Volume, Tone (special val- Custom Shop versions of Fender's American Standard Series D'Aquisto Elite
ues); Other: modified vintage style bridge; Models: models. Body: Alder; Neck: 22 Am Std frets, 9.5" radius, satin
010-8700 Danny Gatton Telecaster finish, Bi-flex truss rod; E-tronics: 2 Strat "Texas Special" SC
pu's (neck, mid), Tele "Texas Special" pu (bridge), 5-pos.
(USA Custom Shop) The Albert Collins Telecaster guitar is a ssw, Vol, TBX; Other: custom detailing, reversed control plate, (USA Custom Shop) The D'Aquisto models are painstakingly
faithful recreation of Albert's "red hot" blues axe. Body: Light Schaller chrome tuners, Am Std (individually adjustable, Grafted to the exacting designs of master luthier James L.
Ash w/bound top and back; Neck: Mpl, gloss finish, 21 vin- stainless steel) bridge saddles: D'Aquisto. Body: sgl cutaway arched top style, multibound
tage frets, 9.5" rad; E-tronics: 1 vintage SC pu (bridge), 1 010-4800 American Classic Tele, RW frtbrd carved Spruce top, carved figured Mpl back, figured Mpl
'50's style HB pu, 3-pos. ssw, Volume, Tone; Other: vintage 010-4802 American Classic Tele, Mplneck sides; Neck: bound Ebonyfrtbrd, Mother-of-Pearl frtmrkrs, 22
style bridge w/special cover; Models: vintage frets, 12" rad, 25.25" scale; Other: separate bridge and
010-8800 Albert Collins Telecaster tailpiece, Ebonytailpiece and pckgrd, bound "F" holes; Models:
JAGUAR 010-2070 D'Aquisto Ultra, full 17" body, split block frtmrkrs
(USA Custom Shop) The Jerry Donahue Telecaster guitar 010-2050 D'Aquisto Elite, 16" body, tigured-Mpl set neck,
offers Jerry's unique "2 guitars in 1" design features. Body: bound back, floating pu, gldpltd hrdwr, deluxe case
Light Ash w/bookmatched birdseye Mpl top and back; Neck: 010-2030 D'Aquisto Deluxe, 16" body, laminated Mpl top,
special "V" shape, Birdseye Mpl, 21 vintage frets, 9.5" radius; tigured-Mpl set neck, bound back, HB pu, chrm-
E-tronics: Custom wound Tele pu (bridge), custom wound pltd hrdwr, deluxe case
Strat pu (neck), special 5-pos. ssw, Volume, Tone; Other: vin-
tage style bridge w/Brass saddles, gldpltd hrdwr; Models: ROBBEN FORD
010-8902 Jerry Donahue Telecaster

The Jaguar is a recreation of Fender's premier guitar from the

The J. D. is an affordable version of Jerry Donahue's unique
60s. Body: Basswood; Neck: RW frtbrd, 22 frets, 7.25" rad;
"2 guitars in 1" design. Body: Basswood, bound; Neck: Mpl,
E-tronics: 2 sgl-coil pu's, on-off slide sw for each pu, "Lead"
21 vintage frets, 7.25" rad; E-tronics: Custom wound Tele pu
circuit [Vol, Tone, Tone sw], "Rhythm" circuit [Vol, Tone], cir-
(bridge), custom wound Strat pu (neck), special 5-pos. ssw,
cuit ssw; Other: Floating bridge tremolo; Models:
Volume, Tone; Other: vintage style bridge w/Brass saddles,
027-7700 Jaguar
chrmpltd hrdwr, tri-lam (B/W/B) pckgrd; Models: (USA Custom Shop) Designed under the direction of modern
027-9702 J. D. Telecaster blues and jazz great Robben Ford. Body: dbl cutaway style,
JAZZMASTER multibound Carved figured Mpl top, solid Mahogany back and
(USA Custom Shop) The Clarence White Telecaster guitar is a sides w/tone chambers; Neck: Mahogany w/bound Ebony frt-
souped up version of the classic country guitar. Body: Light- brd, Mother-of-Pearl frtmrkrs, 22 jumbo frets, 12" radius,
weight Ash; Neck: lightly-tigured Mpl, 21 vintage frets, 9.5" 24.625" scale; E-tronics: 2 HB pu's, 3-pos. ssw, coil tap sw, 2
rad; E-tronics: "Texas Special" Tele pu (bridge), custom 50s Vol, 2 TBX; Other: gold hrdwr, lock-strap system, Schaller
Strat pu (neck), special 5-pos. ssw, Vol, Tone; Other: vintage tuners w/Ebony buttons; IVIodels:
style bridge w/Brass saddles, Parsons/White B-Bender, 010-3060 Robben Ford Model Ultra FM, split block inlays,
Scruggs tuners on both "E" strings; Models: multi-bound top and frtbrd
010-5602 Clarence White Telecaster 010-3050 Robben Ford Model Ultra SP, same as 010-
3060 except carved Spruce top and solid Alder
CUSTOM CLASSIC SERIES The Jazzmaster is a remake of the guitar that was at the heart
back and sides
(USA Custom Shop) The Sparkle Telecaster guitar is a stun- of surf and other 60s instrumental music. Body: Basswood; 010-3020 Robben Ford Model Elite, thinline solid body
Neck: RW frtbrd, 21 frets, 7.25" rad; E-tronics: 2 sgl-coil
ning version of a vintage model. Body: light Poplar, sparkle version of 010-3050 except dot inlays and chrm
pu's, "Lead" circuit [Vol, Tone, 3-pos toggle], "Rhythm" cir-
finish; Neck: lightly fgrd Mpl, "C" shape, 21 vintage frets, 9.5" hrdwr
cuit [Vol, Tone], circuit ssw; Other: Floating bridge tremolo;
rad, tinted nitrocellulose lacquer finish; E-tronics: "Texas Spe-
Models:
cial" Tele pu's, cloth wrapped wire (in electronics), 3-pos ssw Fender Frontline 21
027-7800 Jazzmaster
(bridge pu/neck pu/neck pu w/capacitor); Other: vintage
 34" scale; E-tronics: 3-band active EQ, P-bass pu, HB pu, Vol, REISSUE

Electric
Tone; Other: strings-thru-body/top-load bridge, shell pckgrd; Reissue instruments capture the style of classic models from
Models: the past. Body: Alder w/Foto-flame Basswood cap, classic

BASSES
019-4200 Precision Bass Deluxe, RW frtbrd shape; Neck: Mpl w/Foto-flame finish, RW frtbrd, 20 small
019-4202 Precision Bass Deluxe, Mpl neck frets, 7.25" rad; E-tronics: 2 vintage J-Bass pu's, 2 Vol, Tone;
Other: ncklpltd hdwr, vintage bridge; Models:
CONTEMPORARY SERIES 025-1300 Foto-Flame Jazz Bass

;...'1..? 1
Reissue instruments capture the style of classic models from
the past. Body: Ash, classic shape; Neck: medium, 20 frets,
PRECISION® 7.25" rad; E-tronics: 2 vintage J-Bass pu's, 2 Vol, Tone; Other:
Precision Bass "Lyte"
ncklpltd hdwr, vintage bridge; Models:
027-3500 '75 Jazz Bass, RW frtbrd
n^»:^ 027-3502 75 Jazz Bass, Mpl neck
The Precision Bass "Lyte" is a smaller, lighter, updated ver-
sion of a classic P-Bass. Body: "downsized" modern contour AMERICAN STANDARD
'62 Precision Bass
shape (very lightweight); Neck: RW frtbrd, 22 Am Std frets, (USA) American Standard Series instruments are modern ver-
7.25" radius, "slim" shape; E-tronics: 1 P-Bass (split coil) pu, sions of Fender's classic models. Body: Alder, modern "off-
U.S. VINTAGE 1 J-Bass pu, Master Vol, Pan, active Bass boosVcut, active set" contour shape; Neck: graphite reinforced, RW frtbrd, 20
(USA) U.S. Vintage instruments are excellent recreations of Treble boost/cut; Other: Graphite nut, special design bridge, Am Std frets, 9.5" radius; E-tronics: 2 J-Bass pu, 2 Vol, Tone;
Fender's most famous models. Body: Alder, nitrocellulose lac- Gotoh "mini" tuning keys, no pckgrd; Models: Other: strings-thru-body/top-loading bridge, chrmpltd hdwr,
quer finish; Neck: 20 vintage frets, 7.25" radius, soft "U" 027-9500 Precision Bass "Lyte", basswood body, Gold- 3-ply W/B/W pckg rd; Models:
shape, tinted nitrocellulose lacquer finish; E-tronics: 1 Ameri- plated hdwr 019-2400 American Standard Jazz Bass
can vintage P-Bass (split single-coil) pu, cloth wrapped wire 025-9500 Precision Bass "Lyte" Standard, basswood 019-2500 American Standard Jazz Bass V, same as 019-
(in electronics), Volume, Tone; Other: vintage Kluson (reverse body, Chrm hdwr 2400 except 5-string
direction) tuners, vintage bridge, nickelplated hdwr; Models: 025-9800 Precision Bass "Lyte" Deluxe, mahogany body,
019-0115 '57 Precision Bass, mpl neck, sgl-layer Gold Goldplated hdwr, USA-designed E-tronics, HB pu STANDARD
anodized Aluminum pckgrd, "skunk stripe" on (bridge) Standard versions of Fender's classics. Body: "offset" waist
back of neck, hdstck plug shape; Neck: RW slab frtbrd, 20 std frets, 7,25" rad, polyester
019-0116 '62 Precision Bass, RW slab frtbrd, 3-ply Special Series instruments are carefully updated versions of finish; E-tronics: 2 J-Bass pu, 2 Vol, Tone; Other: tri-lam
(W/B/W) or4-ply (W/B/W/Tortoiseshell) pckgrd Fender's Vintage models. Body: Poplar, downsized P-Bass (W/B/W) pckgrd, Chromeplated hdwr; Models:
shape; Neck: oval shape, RW frtbrd, 22 Am Std frets, 9.5" 013-6500 Standard Jazz Bass, Poplar body
REISSUE radius; E-tronics: 1 P-Bass (split coil) pu, 1 J-Bass pu, Master 027-6720 Standard Jazz Bass, same as 13-6500 except
Reissue instruments capture the style of classic models from Vol, Pan, active Bass boost/cut, active Treble boost/cut; left-hndd and Basswood body
the past. Body: Alder w/Foto-flame Basswood cap, classic Other: vintage bridge; Models: 027-6508 Standard Jazz Bass, same as 13-6500 except
shape; Neck: Mpl w/Foto-flame finish, RWfrtbrd, 20 std frets, 013-5400 Precision Bass Special fretless and Basswood body
7.25" rad; E-tronics: P-Bass (split single coil) pu, Vol, Tone;
Other: ncklpltd hdwr, vintage bridge, 60s styling; Models: CUSTOM CLASSIC SERIES U.S. DELUXE SERIES
025-1200 Foto-Flame Precision Bass (USA Custom Shop) The Vintage Precision Custom Bass is a Modified vintage styling with new pickup system and active
special Custom shop version of the Fender classic. Body: electronics. Body: Alder w/ash-veneered top and back; Neck:
Reissue instruments capture the style of classic models from Swamp Ash, contoured slab shape, nitrocellulose lacquer tin- graphite reinforced, 22 std frets, 9.5" rad, 34" scale; E-tronics:
the past. Body: Basswood, "Tele Bass" shape, polyester fin- ish; Neck: 20 vintage frets, 9.5" radius, soft "U" shape, tinted 3-band active EQ, 2 J-bass pu, Vol, Tone; Other: strings-thru-
ish; Neck: Mpl, 20 std frets, 7.25" rad; E-tronics: original P- nitrocellulose lacquer finish; E-tronics: 1 P-Bass (split single- body/top-load bridge, shell pckgrd; Models:
Bass SC pu, Vol, Tone; Other: ncklpltd hdwr, vintage 2-saddle coil) pu, lacquer coated copper windings (pu's), cloth 019-4400 Jazz Bass Deluxe
bridge; Models: wrapped wire (in electronics), 2 Vol, 2 Tone; Other: Tele bass 019-4500 Jazz Bass Deluxe V, same as 019-4400 except
027-1902 '51 Precision Bass peghead, vintage Kluson (reverse direction) tuners, vintage 5-string
bridge, nickelplated hdwr; Models:
AMERICAN STANDARD 019-5602 Vintage Precision Custom Bass CUSTOM CLASSIC SERIES
American Standard Series instruments are modern versions (USA Custom Shop) Left-hand version of the classic J-Bass.
of Fender's classic models. Body: Alder; Neck: graphite rein- (USA Custom Shop) Left-hand version of the Vintage Preci- Body: classic shape; Neck: "C" shape, Mpl, RWfrtbrd, 20 vin-
forced, RW frtbrd, 20 std frets, 9.5" rad; E-tronics: American sion Bass. Body: Alder, nitrocellulose lacquer finish; Neck: tage frets, 7.25" rad; E-tronics: 2 J-Bass pu's, lacquer coated
vintage P-Bass pu, Vol, Tone; Other: strings-thru-body/top- lightly fgrd Mpl, "C" shape, 20 vintage frets, 7.25" radius, soft copper pu windings, cloth wrapped wire, concentric
load bridge; Models: "U" shape, tinted nitrocellulose lacquer finish; E-tronics: 1 P- (Vol/Tone) knobs; Other: vintage tuners, vintage bridge,
019-2200 American Standard Precision Bass Bass (split single-coil) pu, lacquer coated copper windings ncklpltd hrdwr, red plush/Tweed case; Models:
019-2208 American Standard Precision Bass (fretless), (pu's), cloth wrapped wire (in electronics), Volume, Tone; 019-0209 '62 Jazz Bass (left-hndd)
same as 019-2200 except fretless w/fretline Other: vintage Kluson (reverse direction) tuners, vintage •s

markers bridge, nickelplated hdwr, Red plush Twee case; Models: (USA Custom Shop) American Classic Series instruments are
019-2220 American Standard Precision Bass (left-hand), 019-5722 '57 Precision Bass (left-hndd) Custom Shop versions of Fender's American Standard Series
same as 019-2200 except left-handed models. Body: ash, downsized shape; Neck: graphite rein-
forced, wht shell block inlays, sngl-ply wht binding, 22 std
STANDARD
JAZZ BASS" frets, 9.5" rad; E-tronics: 3-band active EQ, 2 J-Bass pu, Vol,
Standard versions of Fender's classics. Body: Poplar; Neck: Tone; Other: strings-thru-body/top-load bridge, brown shell
RW slab frtbrd, 20 std frets, 7.25" radius; E-tronics: P-Bass pckgrd, orange plush case; Models:
(split single-coil) pu, Volume, Tone; Other: 3-ply (W/B/W) 019-7200 American Classic Jazz Bass, RW frtbrd
pckgrd, Chromeplated hdwr; Models: 019-7202 American Classic Jazz Bass, Mpl neck
'62 Jazz Bass
013-6000 Standard Precision Bass 019-7270 American Classic Jazz Bass FMT, same as 01 9-
7200 except w/highly figured Mpl top
FENDER SQUIER SERIES 019-7272 American Classic Jazz Bass FMT, same as 01 9-
Fender Squier Series instruments are affordable, fine quality U.S. VINTAGE 7202 except w/highly figured Mpl top
versions of Fender's standard models. Body: classic P-Bass (USA) U.S. Vintage instruments are excellent recreations of 019-7370 American Classic Jazz Bass V FMT, same as
shape; Neck: RW frtbrd, 20 std frets, 9.5" rad; E-tronics: P- Fender's most famous models. Body: Alder, nitrocellulose lac- 019-7270 except 5-string
bass pu, Vol, Tone; Other: chrome hrdwr; Models: quer finish, original "offset waist" shape; Neck: 20 vintage 019-7372 American Classic Jazz Bass V FIVIT, same as
013-3400 Fender Squier Series Precision Bass frets, RW frtbrd, 7.25" rad, nitrocellulose lacquer finish; E- 019-7272 except 5-string
Ironies: 2 J-Bass pu's (out of phase), lacquer coated copper
U.S. DELUXE SERIES pu windings, cloth wrapped wire, concentric knobs
Modified vintage styling with new pickup system and active (Vol^Tone); Other: Kluson (reverse direction) tuners, vintage
electronics. Body: Alder w/ash-veneered top and back, down- bridge, ncklpltd hrdwr, 3-ply (W/B/W or W/B/Tortoise shell)
sized shape; Neck: graphite reinforced, 22 std frets, 9.5" rad, pckgrd; Models:
019-0209 '62 Jazz Bass

Fender Frontline
 (USA) The Tone-Master enclosures feature Celestion spkrs,
MB BASS Birch ply-wood closed back cabinets, Blonde tolex covering,

AMPS
Fender MB Basses bring hot, modern styling to the Fender Oxblood grill cloth; Models:
bass.. Body: Basswood or Poplar, downsized contemporary 081-3000 Tone-Master 212 Enclosure, 2-12" spkrs
shape; Neck: RW frtbrd, 22 jumbo frets, 9.5" radius; E-tronics: 081-3001 Tone-Master412 Enclosure, 4-12"spkrs
1 P-Bass (split single-coil) pu, 1 J-Bass pu, Vol, TBX; Other:
Gotoh tuners, no pckgrd; Models: VINTAGE REISSUE SERIES
025-4700 Fender MB 4 Bass The Vintage Reissue Series amps are meticulously repro-
025-4800 Fender MB 5 Bass, 5-string duced classics using original vendors and materials wherever
possible. One would be hard-pressed to discern these amps
GUITAR AMPLIFIERS from the orignials that gave birth to the timeless sounds of
SIGNATURE BASSES rock, country, and modern blues.
CUSTOM AMP SHOP
URGE '59 Bassman
Created as the ultimate "plug in and play" amplifiers, Custom
Shop guitar amps make getting a great tone as easy as flip-
ping a switch. Completely hand-built, they even feature point-
to-point hand wiring. They include all-tube circuitry, designed
to reflect the best sounds of famous Fender vintage amps.
"Urge" Bass Components like Birch plywood, Blonde tolex covering,
Oxblood grill cloth, Ivory radio knobs, and jeweled pilot lights «0
complete the picture. .s uu
Sleek looking basses with features for the modern player.
* co
Body: Alder, special down-sized shape; Neck: Pao Ferro frt-
'63 Vibroverb s 03
brd, 24 Am Std frets, 9.5" rad, 32" scale; E-tronics: 2 custom (USA) The '59 Bassman is a reissue of the legendary Bass-
vintage J-bass pu's (neck, bridge), 1 custom vintage P-bass man amp of the late '50's. Specs: 45w, 4-10" spkrs w/Alnico
pu (mid), Pan, Vol, active Treble, active Bass, 4-pos rotary magnets; Features: original all-tube circuitry w/controls that
sw, 3-pos mini sw; Models: go to "12", Tweed covering w/"0x Blood" grill cloth; Models:
019-1400 Stuart Hamm "Urge" Bass 021-7100 '59Bassman

Sleek looking basses with features for the modern player. (USA) The '63 Vibroverb is a replica of the original 1963 co
Body: Poplar, special down-sized shape; Neck: RW frtbrd, 24 Fender Vibroverb. Specs: 40w, 2-10" spkrs; Features: All tube
Am Std frets, 9.5" rad, 32" scale; E-tronics: 2 J-bass pu's (USA) The Dual Professional is several amps rolled into one. circuitry, tube generated vibrato, spring reverb, tilt-back legs,
(neck, bridge), Pan, Vol, active Treble, active Bass; Models: Specs: 100w RMS, 2-12" spkrs; Features: Tube Reverb [con- Brown Tolex covering, 2-button ftswtch; Models:
013-1400 Stuart Hamm "Urge" Standard Bass 021-7200 '63Vibroverb
trols: Dwell, Mix, Tone], "Fat" switch, vintage Vibrato [con-
trols: Speed, Intensity], Effects loop, dual selectable Vol and
ROSCOE BECK "Fat" controls, Treble, Bass, Mid, Ftswtch for Vol select and (USA) The '65 Twin Reverb is an authentic reproduction of
Created from the famous bassist's exacting specs. Body: Vibrato on/off; Models: the original Twin Reverb, considered by many the ultimate
Alder; Neck: graphite reinforced, Pao Ferro frtbrd, 22 jumbo 081-1005 Dual Professional "clean" amp. Specs: 85w, 2-12" spkrs; Features: 2 chnls, all
frets, 9.5" rad, 34" scale; E-tronics: 2 special 5-string J-bass tube circuitry, tube generated vibrato, spring reverb, tilt-back
pu's, Vol, tone; Other: Ightwght tuning machines, strings- Tone Master legs, "Black Face" cosmetics, 2-button ftswtch; Models:
thru-body/top-load bridge; Models: 21-7300 '65 Twin Reverb
019-6500 Roscoe Beck V, 5-string '65 Twin Reverb

Tone Master '65 Deluxe Reverb

412 Enclosures
iuita
Enclosure.

Tone Master

(USA) The '65 Deluxe Reverb is an authentic reproduction of

the original "black face" Deluxe Reverb. Specs: 22w, 12" spkr;
Features: 2 chnls (normal and vibrato), all tube circuitry, tube
Abbreviations generated vibrato, tube reverb, "Black Face" cosmetics, 2-but-
AmStd = American Standard niddplttf == nickelptoted
ton ftswteh (reverb, vibrato); Models:
Ch.clml = channel pc, pcs = piece, pieces
cte'nfldW = chrmneplated pckgrd = plckauart 21-7400 '65 Deluxe Reverb
(USA) The Vibro-King is a small but powerful combo amp.
dtl-lckng = doidrie locking po* = poriUon
Blx = deluxe PU = pickup Specs: 60w RMS, 3-10" "vintage blue" spkrs; Features: Tube
in = effects pad = radius Reverb [controls: Dwell, Mix, Tone], "Fat" switch, Tremolo Black
E-tronics = Bectronics RW = Rosewood w/silver
ext = extension 8C = Single Coil
[controls: Speed, Intensity], Effects loop, Vol, Treble, Bass,
grillcloth Blonde
FIS = Fender-lace Sensor fill = single Mid, Ftswtch fortremolo and "Fat"; Models: w/oxblood
fqncy = Irequency sflhr = speakep 081-1000 Vibro-King grillcloth
fpttpd = Irethoard ssw = selector switch
Irtmpkrs = ft'elmapker* StidssSU = Staintess Steel
tawtch = lootewlteh swtctmg = switching (USA) The Vibro-King 212 speaker enclosure features two 1 2"
hdstck = headatock tram = b-emolo
Celestion spkrs, a Birch ply-wood closed back cabinet, Blonde Brown w/tan
goldpttd = goimnated tri-lam = triple lammated
HB = humhuddng USA = made In the UA tolex covering, OAilood grill cloth. Specs: 4 ohms, 140 watts grillcloth
hdwr = hardware vol = volume power-Tindlng; IVIodels:
hndd = handed w = watt*
imp = Impedance W/B/W = Whlte/Black/WNte 081 -3004 Vibro-King 212 Enclosure
hand = licensed wht = white
(USA) The Fender Reverb is a replica of the original 1963 tube
mpl = maple x-ovep cpossuver (USA) The Tone-Master is a potent amp with great tone and
= neede-bearlng reverb unit. Features: Dwell, Mix, and Tone control: Models:
power to spare. Specs: 100w RMS; Features: Two chnls 21-7500 '63 Fender Reverb, brown w/tan grillcloth
("Vintage", "Drive") each with [Vol, Treble, Bass, Mid, "Fat"
21 -7501 '63 Fender Reverb, black w/silver grillcloth
switch], 2 Eff loops (1 per chnnl), chrmpltd slides for mount-
21 -7502 '63 Fender Reverb, blonde w/oxblood grillcloth
ing to enclosures, ftswtch; Models:
081-1000 Tone-IVIaster

Fender Frontline 23
 TWEED SERIES band EQ], Reverb, adjustable Eff loop w/Mix control, line out- STANDARD SERIES
Based on Fender's original "Tweed" designs of the 50s, the put, ext. spkr out, 3-button ftswtch; Models: From the sparkling signature Fender clean sound to scream-
Tweed Series amps combine vintage tone with modern versa- 021 -4802 Concert, 60w RMS, 1 -12"spkr ing overdrive, Standard Series amplifiers provide a range of
tility. They boast "retro" styling such as genuine Tweed cover- 021-4803 Concert G12-80, same as 021-4802 except with tones that covers every base. And via some innovative solid-
ing, rear-loaded chrome chassis and "chicken head" knobs. Celestion G12-80 "Classic Lead 80" spkrs state circuitry, they give you the classic warm sounds of
021 -4806 Super, 60w RMS, 4-10" spkrs tubes without the expense.
(USA) The Bronco is a small amp with the classic Fender
clean sound as well as some pretty screaming distortion.
Bullet
Specs: 15w, 8" spkr; Features: dual selectable channels (nor- Fteverb
mal, drive) w/separate volume controls, 3-band EQ, ext. spkr
jack, headphone jack; Models:
Twin
022-3104 Bronco

(USA) The Pro Junior is a small amp in the classic Fender tra-
Bullet
dition. Specs: 15w, 10" spkr; Features: all-tube circuitry,
unique "clean" to "drive" volume control, tone; Models:
021-3103 Pro Junior
The Fender Bullets are affordable amps with great sound.
Specs: 15w, 8" spkr; Features: tube emulation power amp,
Blues Deluxe (USA) The Twin is the top-of-the-line Pro Tube amp, with dual selectable chnnls (normal, drive), 3-band EQ, Vol, Gain,
state-of-the-art features and performance. Specs: 100w/25w, Drive, headphone jack, ext. spkrjack; Models:
2-12" spkrs, selectable 4/8/16 ohm imp; Features: dual selec- 022-6705 Bullet
table chnnls w/independenttone controls, dual selectable gain 022-6706 Bullet Reverb, internal spring reverb
in Normal chnnl, spring reverb w/assign sw, variable Eff loop
w/mix control and chnnl assign sw, line out, ext. spkr out, 3-
button ftswtch; Models: Champion 110
021-4809 Twin
Bronco
Pro Junior PERFORMER SERIES
Powerful new "hybrid" amps designed for today's aggressive
(USA) The Blues Deluxe is a potent amp with a range of
playing styles, the Performer models boast a complex,
sounds from clean to milky smooth overdrive. Specs: 40w,
expressive distortion that rivals popular "hot-rodded" amps.
12" spkr; Features: all-tube preamp/power amp, dual selec-
table channels (normal, drive) w/separate gain and master Performer 1000 Head Princeton 112
controls, 3-band EQ, reverb, presence, bright sw, effects loop,
ftswtch for drive select; Models: (USA) The Champion 110 is an affordable amp with a big
021-3102 Blues Deluxe sound and expansion capability. Specs: 25w RMS, 10" spkr;
GE-412 (right & below) Features: dual selectable chnls, Reverb, ext spkr jack, head-
Blues DeVille (see Guitar Speaker
Enclosures section) phone jack; Models:
Blues DeVille 212 022-6703 Champion 110

Performer 1000 (USA) The Princeton 112 is a mid-sized amp with a great
Combo sound. Specs: 35w RMS, 12" spkr; Features: dual selectable
chnls w/independent tone controls, Reverb, Effects loop,
headphone jack; Models:
022-6704 PrincetonHZ

Deluxe 112
(USA) The Blues DeVilles are powerful amps with both vin-
tage clean and smooth distortion tones. Specs: 60w; Fea-
tures: all-tube preamp/power amp, dual selectable channels
(normal, drive) w/separate gain and master controls, 3-band
EQ, reverb, presence, bright sw, effects loop, ext. spkrjack, 2-
button ftswtch for drive select and reverb on/off; Models:
021 -3101 Blues DeVille, 4-10"spkrs
(USA) The Performer 650 model is a smaller version of the Stage 112SE
021-3100 Blues DeVille 212, same as 021-3101 but with
two 12"spkrs 1000 models. Specs: 70w RMS, 12" spkr. Features: chnl
swtchng, Normal chnl [Treble, Mid, Bass], Drive chnl [Tube (USA) The Deluxe 112 is a mid sized amp designed to pro-
PROFESSIONAL TUBE SERIES preamp, Treble, Mid, Bass], Reverb, adjustable Eff loop, line duce a variety of great sounds. Specs: 65w RMS, 12" spkr;
Combining popular vintage sound and styling with a healthy output, 2-button ftswtch; Models: Features: dual selectable chnls w/independent tone controls,
dose of modern features, the Pro-Tube Series amplifiers offer 022-6800 Performer 650 reverb, effects loop, headphone jack, 2-button ftswtch; Models:
performance "extras" like all-tube circuitry and spring reverb 022-6702 Deluxe 11*2
as well as multiple gain switching and effects loop options. (USA) The Performer 1000 models offer an explosive distor-
tion and plenty of headroom. Specs: 100w RMS. Features: (USA) The Stage 112 SE's "tube emulation" power amp offers
chnl swtchng, Normal chnl [Treble, Mid, Bass], Drive chnl very warm tones. Specs: 160w RMS, 12" spkr; Features: chnl
[Tube preamp, dual selectable Gain, Treble, Mid, Bass], swtchng, Ch 1 [3-band EQ w/Mid Shift, Vol], Ch 2 [3-band
Reverb, adjustable Eff loop w/Mix control, line output, ext. EQ, Gain, Vol, Contour], Reverb, Eff loop, Line Out, 2-button
Concert
spkr out, 3-button ftswtch; Models: ftswtch; Models:
022,-,6800 Performer 1000,1 -12"spkr 022-6700 Stage 112 SE
022-6801 Performer 1000 Head
(USA) The Pro 185 is a powerful, versatile amplifier with the
"warm" sound of tubes and the reliability of solid state
design. Specs: 160w RMS/185w CIP, 2-12" spkrs, 4 or 8 ohm
Super
imp; Features: chnl swtchng, Ch 1 [3-band EQ w/Mid cut], Ch
2 [3-band EQ w/Mid boost, switchable Gain, switchable Gain
(USA) The Concert and Super are tributes to vintage amps boost, Prescence, Contour w/Tilt button], Reverb, adjustable
with the same names. Features: chnl swtchng, Normal chnl Eff loop, 3-button ftswtch; IVIodels:
[3-band EQ w/pull/cut], Drive chnl [dual selectable Gain, 3- 022-5600 Pro 185

24 Fender Frontline
 STANDARD SERIES CHORUS (USA) Specs: 300w RMS, 15" Eminence spkr; Features: 3-band
True stereo chorus give the Standard Chorus amplifiers a
BASS AMPS EQ w/sweepable mid, high fqncy boost/cut, low fqncy boosVcut,
rich, transparent sound that works well both in the clean and high fqncy enhance, low fqncy enhance, Vol, selectable Delta
CUSTOM AMP SHOP
the overdrive mode. And the innovative solid-state circuitry Comp™ limiter, eff loop, ext spkrjack, fan cooling; Models:
(USA) The Rumble Bass is the ultimate bass player's
provides the warm sound of tubes without the expense. 022-4100 BXR300C
machine: classic vintage looks and powerful modern features.

Rumble KEYBOARD AMPLIFIERS

Bass
(USA) Basically self-contained P.A. systems, the KXR Series
Rumble amplifiers were designed for keyboards. But they are also
Bass 410 ideal for voice, acoustic/electric guitar, or any other acoustic
speaker instrument.
enclosure

Ultimate Chorus
Rumble Bass
410 SUB
(USA) The Princeton Chorus is a compact, highly efficient speaker
chorus amp with rich tones and smooth distortion. Specs: 2 x enclosure
25w RMS, 2-10" spkr; Features: chnl swtchng, Ch 2 [Gain,
Mid boost, Limiter, Presence], 3-band EQ, Master Vol, stereo
chorus, reverb, mono/stereo eff loop, 2-button ftswtch; IVIodels:
022-5700 Princeton Stereo Chorus (USA) Specs: 300w into 2 or 4 ohms; Features: all-tube circuitry,
dual chnls [parallel or independent operation, tone controls, mid
(USA) The Ultimate Chorus is our most sophisticated chorus cut sw], parallel eff loop w/chnnl assign sw and mix control,
amp, designed for lush chorus tones. Specs: 2 x 65w RMS, 2- blonde tolex, oxblood grill cloth, ftswtch (chnnl select); Models:
12" spkr; Features: chnl swtchng, Ch 1 [Vol, 3-band EQ, 081-2100 Rumble Bass Head
Reverb], Ch 2 [Vol, Gain, 3-band EQ w/Mid boost, Presence, (USA) Specs: 4 ohm, 600w pwr hndlng; Features: four 10" (USA) Specs: 90w RMS @ 4 ohms, 15" spkr plus dual piezo
Reverb], Chorus rate and depth, mono and stereo Eff loops, spkrs, "hidden" slant spr baffle, birch plywood construction, horn, 3 chnnls w/independent vol, XLR input in chnnl 1, 4-
2-button ftswtch [Chorus, Chnl select]; Models: blonde tweed covering, oxblood grill cloth; Models: band master EQ, Deltacomp™ limiter, master reverb, master
022-5800 Ultimate Chorus 081-3100 Rumble Bass 410 enclosure, overload protected vol, effects loop, record out jacks (RCA), Headphone jack,
bullet horn tweeter w/3-pos level sw tolex covering; Models:
RAD, HOT, JAM 081-3101 Rumble Bass 410 SUB enclosure 022-8501 KXR100
RAD, HOT and JAM amps are powerful performers with pre-
programmed sounds that can be personalized with Fender's BXR SERIES (USA) Specs: 20w RMS @ 4 ohms, 15" spkr plus dual piezo
exclusive contour control. Tape-in and headphone jacks make (USA) Designed with the aid of some of today's best bass horn, 4 chnnls with independent [EQ, vol, insert, reverb send,
it possible to play along with tapes or CDs. players, each BXR model provides a forum for almost every eff send], XLR input in chnnl 4, switchable Deltacomp™ lim-
conceivable style, from "traditional" to "contemporary." iter, master reverb, master vol, pop-in casters, recessed han-
\BXR60 dies, tolex covering; Models:
022-8502 KXR 200
BXR25
GUITAR SPEAKER ENCLOSURES
(USA) Closed back cabinets, designed for use with Performer
H.O.T.
series amps. Covered in black tolex. 8 ohms. Models:
021-1660 GE-112,1-12"spkrs
021-1662 GE-412, 4-12" spkrs, straight front w/"hidden"
R.A.D.
slant baffle
Features: 4 preprogrammed sounds [bright (super clean), full
BXR 021-1663 GE-412 V30, same as 021-1662 except with
(warm clean), crunch (medium overdrive), lead (super over- (USA) Features: 3-band EQ, Headphone jack, tolex covering; Celestion "Vintage 30" spkrs
drive)], Eff loop, headphone jack, carpet covering; Models: Models:
022-6000 RAD, 20w, 8" spkr 022-4402 BXR 15,15w RMS, 8" spkr, Ext. spkrjack
022-6100 HOT, 25w, 1 0"spkr, Reverb 022-4403 BXR 25, 25w RMS, 10" spkr, Hi/Lo inputs, Tape BASS SPEAKER ENCLOSURES--BXR
022-6200 JAM, 25w, 12" spkr, Reverb, Chorus inputs, Eff loop (USA) Designed with the aid of some of today's best bass
(USA) Specs: 60w RMS, 12" spkr; Features: 4-band EQ, mid players to fit every style, BXR speaker enclosures combine
SQUIER top quality sound with a modern compact format.
notch button, Delta Comp™ limiter, headphone jack, eff loop,
The Squier 15 is a small, portable amp with professional fea-
tape-in jacks, line out jack; Models:
tures. Specs: 15w RMS, 8" spkr, closed back cabinet; Fea- 022-4404 BXR 60 BXR210H
tures: 3-band EQ, Vol, Gain, Master, headphone jack; Models:
023-0500 Squier15 BXR 300C BXR 200 Head

BXR 200

BXR 115
BXP 100 BXR410H
Specs: 8 ohms impedance; Features: perforated metal speak-
(USA) Specs: 100w RMS, 15" spkr; Features: Delta Comp™ er grill, rugged black carpet covering, rececessed handles;
limiter, 7-band EQ, high/low shelving, high/mid/low enhance
Models:
sws, headphone jack, eff loop, line out jack; Models:
021-1670 BXR 115B, 15" spkr, 300w peak power hndling
022-4401 BXR100
021-1671 BXR 41 OH, four 10" spkrs, bullet horn tweeter,
(USA) Specs: 200w RMS/4 ohms; Features: 9-band EQ, selec- 600w peak power hndling
table Delta Comp™ limiter, high and low shelving, 021-1672 BXR 21 OH, two 10" spkrs, bullet horn tweeter,
high/mict/low enhance sws, chorus w/rate and depth controls, 300w peak power hndling
line out, Eff loop, ftswtch (cho select); Models:
022-4405 BXR 200,15" Eminence spkr Fender Frontline 25
022-4406 BXR 200 Head, also 125w RMS/8 ohms
 NYLON STRING
Acoustic The CG-5 is a nylon string guitar with a great feel and sound.

GUIHUtS
Body: classic shape, mahogany top, Meranti back and sides;
Neck: Nato, hardwood frtbrd; Models:
094-0500-021 CG-5

95-4515 SB-15, solid mahogany back and sides, RW

bridge, RWfrtbrd, chrome tuners

Acoustic/Electric
095-4525 SB-25, solid RW back and sides, ebony bridge,
DG SERIES ebonyfrtbrd, gold tuners

GUIfflRS
All DG Series acoustic guitars offer Fender design and manu- 095-4535 SB-35, highly-figured solid maple back and
facturing quality, with a range of features that cover almost sides, ebony bridge, ebony frtbrd, gold tuners
every need.

Body: dreadnought style, mahogany top, mahogany back and

sides: Neck: Nato, hardwood frtbrd; Models:
095-0500-021 DG-5
DG SERIES
Body: mreadnought style, spruce top, mahogany back and All DG Series acoustic electric guitars offer Fender design and LS-50
sides: Neck: Nato, RWfrtbrd; Models: manufacturing quality, with a range of features that cover
095-1000-021 DG-10, satin finish almost every need.
095-1020-021 DG-10LH, satin finish, left-hand model
095-1012-021 DG-10-12, satin finish, 12-string model Body: cutaway electric style, spruce top, mahogany back and 095-4040 LS-40C, solid mahogany back and sides, RW
095-1500-032 DG-15 SB, sunburst finish sides; Neck: Nato, RWfrtbrd; Models: bridge, RWfrtbrd, chrome tuners
095-1500-006 DG-15 BLK, black finish 095-1005-021 DG-10CE NS, satin finish 095-4050 LS-50C, solid RW back and sides, ebony bridge,
095-2005-021 DG-20CE, satin finish ebonyfrtbrd, gold tuners
Body: Dreadnought style, solid spruce top, mahogany back 095-4060 LS-60C, highly-figured solid maple back and
and sides; Neck: Nato, RWfrtbrd; Models: Body: cutaway electric style, flame maple top and back and sides, ebony bridge, ebony frtbrd, gold tuners
095-2000-021 DG-20S sides; Neck: Maple, RWfrtbrd; Models:
095-2205-021 DG-22CE NAT
Body: Dreadnought style, solid spruce top, RW back and 095-2205-030 DG-22CE CS, cherry finish
sides; Neck: Nato, RWfrtbrd; Models: 095-2205-032 DG-22CE SB, sunburst finish
095-2100-021 DG-21S

Body: Dreadnought style, solid spruce top, flame maple back SX SERIES LS-10
and sides; Neck: Maple, RWfrtbrd; Models:
095-2200-021 DG-22S NAT
095-2200-030 DG-22S CS, cherry finish 095-4010 LS-10, solid mahogany back and sides, RW
095-2200-032 DG-22S SB, sunburst finish bridge, RWfrtbrd, chrome tuners
095-4020 LS-20, solid RW back and sides, ebony bridge,
ebonyfrtb rd, gold tuners
SX SERIES 095-4030 LS-30, highly-figured solid maple back and
The SX series acoustic guitars are high quality instruments sides, ebony bridge, ebony frtbrd, gold tuners
constructed from the some of the finest woods available. SX acoustic/electric guitars feature the same high quality con-
struction as the SX series acoustics. Body: solid Spruce top, NYLON STRING
laminated Indian RW back & sides; Neck: African Mahogany,
Mother of Pearl frtmrkrs; E-tronics: mono 2-way piezo pickup
system, Mix, Vol, Tone, Bass; Other: Indian RW headstock,
800sx Gold diecast tuners; Models:
095-1105 1105sxe, Dreadnought shape, Ebony fngrbrd &
bridge, dotfrtmrkrs
2100cx
Body: Dreadnought shape,Spruce top; Neck: Nato, Indian RW
SPRING HILL SERIES
fngrbrd and bridge, dotfrtmrkrs; Other: Indian RW headstock;
Models: Spring Hill series guitars are custom-crafted acoustic guitars The 2100cx is an acoifstic/electric nylon string guitar with a
095-0600 600sx, Nato back and sides, Chrome diecast made in Spring Hill, Tennesse which feature hand-chosen great feel and sound, both acoustically and electrically. Body:
tuners woods and the finest components available. Body: quarter- cutaway, solid Cedar top, Ovangkol back and sides; Neck:
095-0800 SOOsx, Indian RW back and sides, gold diecast sawn solid spruce top; Neck: mahogany bound, mother-of- Nato, RWfingrbrd; E-tronics: Vol, Tone; Models:
tuners pearl fretmarkers, solid ebony headstock overlay; E-tronics 095-2100 2100CX
[option available on any Spring Instrument): Fishman® piezo
Body: Dreadnought shape, solid Spruce top; Neck: African transducer and 4-band EQ pre-amp w/phase sw; Models:
Mahogany, Mother of Pearl dot frtmrkrs; Other: Indian RW
headstock; Models:
095-1000 1000sx, laminated Honduras Mahogany back
and sides, Indian RW fngrbrd and bridge,
Chrome diecast tuners
095-1100 HOOsx, laminated Indian RW back and sides,
Ebonyfngrbrd and bridge, Gold diecast tuners

095-4545 SB-45C, solid mahogany back and sides, RW

bridge, RWfrtbrd, chrome tuners
095-4555 SB-55C, solid RW back and sides, ebony bridge,
ebonyfrtbrd, gold tuners
095-4565 SB-65C, highly-figured solid maple back and
sides, ebony bridge, ebony frtbrd, gold tuners

26 Fender Frontline
 NYLON TAPE WOUND
ACOUSTIC GUITAR STRING SETS Unique pure Nickel roundwound string with nylon tape cover

STRINGS
for warmer tone, more sustain. Sets:
80/20 BRONZE WOUND 073-6000 2200, 058/072/092/110
Special hexagonal steel core for brighter, more consistent,
longer lasting, lush overtones. Sets:
NYLON FlLAMENT ROUNDWOUND
Ball End Sets A Black roundwound string designed specifically for Fender's
073-1300 70XL, 010/014/022/030/040/048 Acoustic/Electric bass. Sets:
073-1100 70L, 012/016/024/032/042/052 073-6100 Acoustic/Electric, 070/080/090/100
073-3900 70R, 013/017/026/036/046/056
ELECTRIC GUITAR STRING SETS BAJO SEXTO TELECASTER
Bullet End Sets Dynamaxx gauged for Fender's Bajo Sexto Telecaster. Sets:
PURE NICKEL WOUND 073-1090 A-Tuning, 016p/026p/036/046/056/066
077-9623 3170XL, 010/014/022/030/040/048
150's are the traditional electric guitar string, with a pure 073-1090 E-Tuning, 022/032/042/052/062/072
077-9523 3170L, 012/016/024/032/042/052
Nickel cover wrap—lightly rolled to reduce finger noise. Avail-
077-9423 3170R, 013/017/026/036/046/056
able in standard ball or Fender's exclusive Bullet end. Sets:
Ball End Sets INDIVIDUAL STRINGS—GUITAR
073-6500 008/011/014/022/030/038 Ball End Sets, 12 String
150SL,
073-7100 150LH, 009/011/016/026/036/046 073-5100 1400, 010/014/024/028/038/048 PLAIN GAUGED SINGLES
073-6300 150XL, 009/011/015/024/032/040 010/014/010/013/017/028 Ball End Bullet End
073-6400 150SXL, 009/011/016/024/032/042 072-0200 (008) 077-1100 (008)
073-2300 010/013/015/026/032/038 072-0201 (009) 077-1101 (009)
150,
CLASSICAL GUITAR STRING SETS 072-0202 (010) 077-1102 (010)
073-2400 150PRO, 010/013/017/026/036/046
073-5600 1550, 011/015/022/032/040/048
072-0203 (011) 077-1103 (011)
NYLON CLASSICAL 072-0204 (012) 077-1104 (012)
Nylon cores are wound with silverplated copper. The three 072-0205 (013) 077-1105 (013)
Bullet End Sets treble strings are available in either clear or black nylon. Sets: 072-0206 (014) 077-1106 (014)
077-9322 3150SL, 008/011/014/022/030/038 072-0207 (015) 077-1107 (015)
Tie End Sets, Clear/Silver
077-9122 3150LH, 009/011/016/026/036/046 072-0208 (016) 077-1108 (016)
073-1900 100, 028/032/040/029/035/043 072-0209 (017) 077-1109 (017)
077-9222 3150XL, 009/011/015/024/032/040
072-0210 (018P) 077-1110 (018P)
077-9422 3150SXL, 009/011/016/024/032/042 Tie End Sets, Black/Silver (020P)
072-0212 077-1112 (020P)
077-9022 3150R, 010/013/015/026/032/038 073-2200 120, 028/032/040/029/035/043
077-9722 3150 PRO, 010/013/017/026/036/046 PURE NICKEL WOUND
Ball End Sets, Clear/Silver
NlCKELPLATED STEEL ROUNDWOUND 073-8000 130, 028/032/040/029/035/043 Ball End (150-s) Bullet End(3150's)
072-0310 (018W)
DYNAMAXX® 072-0312 (020W)
Dynamaxx® strings make any guitar come alive! The nickel
ELECTRIC BASS STRING SETS 072-0314 (022) 077-2214 (022)
plating is carefully applied to the steel cover wrap allowing 072-0316 (024) 077-2216 (024) 09

I
greater volume and superior high-end response. Sets: 072-0318 (026) 077-2218 (026) ec
NlCKELPLATED STEEL ROUNDWOUND 072-0320 (028) 077-2220 (028)
Ball End Sets
DYNAMAXX® 072-0322 (030) 077-2222 (030)
073-1010 250XL, 008/011/014/022/030/038 072-0324 (032) 077-2224 (032)
073-1020 250L, 009/011 ,016/024/032/042
Nickelplated Steel Roundwound bass strings increase maxi- cs
mum volume and give effortless, even response for all playing
072-0326 (034) 077-2226 (034)
073-1025 250LR, 009/011/016/026/036/046 072-0328 (036) 077-2228 (036)
styles. Sets:
073-1030 250R, 010/013/017/026/036/046 072-0330 (038) 077-2230 (038)
073-1750 1200XL, 040/060/075/095 072-0332 (040) 077-2232 (040)
073-1035 250RH, 010/013/017/032/042/052
073-1760 1200L, 045/065/080/100 072-0334 (042) 077-2234 (042)
Isl
073-1040 250M, 011/014/018P/028/038/048
073-1770 1200M, 050/070/085/105 072-0336 (044) 077-2236 (044)

Ill
072-0338 (046) 077-2238 (046)
Bullet End Sets 072-0340 (048) 077-2240 (048)
077-9725 3250XL, 008/011/014/022/030/038 5-string 072-0342 (050) <?
077-9724 3250L,
077-9723 3250R,
009/011/016/024/032/042
010/013/017/026/036/046
Available with "high C" string (H), or "low B" string (L).
073-1767 1205H, 030/045/065/080/100
072-0344
072-0346
(052)
(054) §51
073-1765 1205L, 045/065/085/105/130 072-0348 (056)
<
077-9721 3250M, 011/014/018P/028/038/048
NlCKELPLATED STEEL ROUNDWOUND
FR Ends (For "Floyd Rose" Tremolo) Sets 6-string
073-2010 4250XL, 008/011/014/022/030/038 Includes both "high C" and "low B" strings. DYNAMAXX® 60
073-2020 4250L, 009/011/016/024/032/042 073-1766 1206, 030/045/065/085/105/130 Ball End (250's) Bullet End (3250's)
csl
073-2030 4250R, 010/013/017/026/036/046 072-1710 (018W) 077-2410 (018W)

Sl
STAINLESS STEEL FLATWOUND 072-1712 (020W) 077-2412 (020W)
STAINLESS STEEL ROUNDWOUND Stainless Steel Flatwound strings have flat winding for less 072-1714 (022) 077-2414 (022)
Brilliant tone, longer string life. Stainless steel wrap stands up finger noise, smooth feel. Sets:
072-1716 (024) 077-2416 (024)
072-1718 (026) 077-2418 (026)
to vigorous playing; resists humidity, perspiration, skin oils, 073-1500 80, 050/065/080/095 (028)
072-1720 077-2420 (028)
acids without losing punch or superior magnetic qualities. 073-4100 850, 055/070/090/105 072-1722 (030) 077-2422 (030)
Sets: 073-4400 950, 050/060/075/095 072-1724 (032) 077-2424 (032)
Ball End Sets 073-1660 980L, 045/060/075/090 072-1726 (034) 077-2426 (034)
073-0210 350XL, 008/011/014/022/030/038 073-1670 9801VI, 050/065/080/095 072-1728 (036) 077-2428 (036)
073-0220 350L, 009/011/016/024/032/042
072-1730 (038) 077-2430 (038)
ST-AINLESS STEEL ROUNDWOUND 072-1732 (040) 077-2432 (040)
073-0230 350R, 010/013/017/026/036/046 (042)
Stainless Steel Roundwound strings provide great punch and
072-1734 077-2434 (042)
072-1736 (044) 077-2436 (044)
STAINLESS STEEL FLATWOUND high output. Sets: 072-1738 (046) 077-2438 (046)
The choice of many jazz greats and studio musicians. Flat 073-2620 970L, 045/065/080/095 072-1740 (048) 077-2440 (048)
winding reduces finger noise, gives a silky smooth feel. Sets: 073-2630 9701VI, 050/070/085/100 072-1742 (050) 077-2442 (050)
Ball End Sets
073-5000 1000, 045/065/080/105 072-1744 (052) 077-2444 (052)
072-1746 (054) 077-2446 (054)
073-3300 505, 012/016/024/032/042/052
PURE NICKEL ROUNDWOUND
073-0900 50, 013/017/026/034/044/054
Pure Nickel Roundwound strings offer excellent tone and long
sustain. Sets:
073-1700 90, 050/065/085/100
073-1620 990L, 045/060/075/090
073-1630 990M, 050/065/080/095

Fender Frontline 27
 80/20 BRONZE WOUND 098-1529 Bright Blue, Thin
098-1530 Bright Blue, Medium

PICKS
Ball End (150-s) Bullet End (3150's»
072-2514 (022) 077-2314 (022) 098-1531 Bright Blue, Heavy
072-2516 (024) 077-2316 (024)
072-2518 (026) 077-2318 (026)
072-2520 (028) 077-2320 (028) THUMB PICKS
072-2522 (030) 077-2322 (030)
Fender's traditional Celluoid material formed into a comfort-
072-2524 (032) 077-2324 (032)
077-2326 (034) able heavy gauge thumb pick. Models:
072-2526 (034)
072-2528 (036) 077-2328 (036) 098-1002-001 Shell, medium
072-2530 (038) 077-2330 (038) 098-1002-002 White, medium
072-2532 (040) 077-2332 (040) CELLULOID 098-1002-003 Confetti, medium
072-2534 (042) 077-2334 (042) Celluloid picks give the traditional feel, with a smooth striking 098-1002-004 Shell, large
072-2536 (044) 077-2336 (044) surface and a warm, round, musical tone. They are also very 098-1002-005 White, large
072-2538 (046) 077-2338 (046) durable. Models: 098-1002-006 Confetti, large
072-2540 (048) 077-2340 (048)
072-2542 (050) 077-2342 (050) 346 Shape
072-2544 (052) 077-2344 (052) 098-2329 Shell, Thin
DELRIN™ "MOLDED KNIFE EDGE
072-2546 (054) 077-2346 (054) 098-2330 Shell, Medium
072-2548 (056) 077-2348 (056) 098-2331 Shell, Heavy Delrin, created by DuPont, is strong and resilient—very long
098-2332 Shell, Extra Heavy lasting. Molded with a knife edge for clean attack and sharp,
vibrant tones. Models:
INDIVIDUAL STRINGS—BASS 098-2129 White, Thin
351 Shape.-NEONPIC™ ("Neon")
098-2130 White, Medium
PURE NICKEL ROUNDWOUND 098-2131 White, Heavy
098-1004 Melon .50mm (Thin)
098-1005 Orange .60mm (Thin/Medium)
072-3030 (030) 072-3080 (080) 098-2132 White, Extra Heavy
072-3085 (085) 098-1006 Yellow 73mm (Medium)
072-3035 (035) 351 Shape
072-3040 (040) 072-3090 (090) 098-1007 Lime .88mm (Medium/Heavy)
098-1029 Confetti,Thin 098-1008 Pink
072-3045 (045) 072-3095 (095) 1.00mm (Heavy)
098-1030 Confetti, Medium
072-3050 (050) 072-3100 (100) 098-1009 Grape 1.14mm (Extra Heavy)
072-3055 (055) 072-3105 (105) 098-1031 Confetti, Heavy
351 Shape-Phosphorescent ("GLO")
072-3060 (060) 072-3120 (120) 098-1032 Confetti, Extra Heavy
098-3004 GLO .50mm (Thin)
072-3065 (065) 072-3125 (125)
072-3070 (070) 072-3130 (130) 098-1629 Shell, Thin 098-3006 GLO 73mm (Medium)
072-3075 (075) 098-1630 Shell, Medium 098-3008 GLO 1.00mm (Heavy)
098-1631 Shell, Heavy 098-3009 GLO 1.14mm (Extra Heavy)
NlCKELPLATED STEEL ROUNDWOUND 098-1632 Shell, Extra Heavy

DYNAMAXX® 098-1829 White , Thin DELRIN™ - MATTE ROUNDED EDGE

072-7030 (030) 072-7080 (080) 098-1830 White , Medium
072-7035 (035) 072-7085 (085) 098-1831 White , Heavy Delrin, created by DuPont, is strong and resilient—extremely
072-7040 (040) 072-7090 (090) 098-1832 White , Extra Heavy durable. Diei cut and tumbled for a smooth, rounded edge
072-7045 (045) 072-7095 (095) resistant to chipping. The matte finish improves grip, even
(100) 354 Shape
072-7050 (050) 072-7100 after hours of playing. Models:
072-7055 (055) 072-7105 (105) 098-2029 White , Thin
098-2030 White , Medium 323 Shape
072-7060 (060) 072-7120 (120)
072-7065 (065) 072-7125 (125) 098-2031 White , Heavy 098-6104 Red .50mm (Thin)
072-7070 (070) 072-7130 (130) 098-2032 White , Extra Heavy 098-6105 Orange .60mm (Thin/Medium)
072-7075 (075) 098-6106 Yellow 73mm (Medium)
355 Shape
098-6107 Green .88mm (Medium/Heavy)
098-5029 Shell, Thin
STAINLESS STEEL ROUNDWOUND 098-6108 Blue 1.00mm (Heavy)
098-5030 Shell, Medium
072-5030 (030) 072-5080 (080) 098-6109 Purple 1.14mm (Extra Heavy)
098-5031 Shell, Heavy
072-5035 (035) 072-5085 (085) 346 Shape
072-5040 (040) 072-5090 (090) 358 Shape
098-6204 Red .50mm (Thin)
072-5045 (045) 072-5095 (095) 098-1729 Shell, Thin
098-6205 Orange .60mm (Thin/Medium)
072-5050 (050) 072-5100 (10°) 098-1730 Shell, Medium
098-6206 Yellow 73mm (Medium)
072-5055 (055) 072-5105 (105) 098-1731 Shell, Heavy
072-5060 (060) 072-5120 (120) 098-6207 Green .88mm (Medium/Heavy)
072-5065 (065) 072-5125 (125) 098-1929 White , Thin 098-6208 Blue 1.00mm (Heavy)
072-5070 (070) 072-5130 (130) 098-1930 White , Medium 098-6209 Purple 1.14mm (Extra Heavy)
072-5075 (075) 098-1931 White , Heavy 347 Shape
098-6304 Red ,50mm (Thin)
STAINLESS STEEL FLATWOUND 098-6305 Orange .60mm (Thin/Medium)
072-4045 (045) 072-4080 (080) COLORPIC1 098-6306 Yellow 73mm (Medium)
072-4050 (050) 072-4085 (085) Colorpic picks give the traditional feel, with a smooth striking 098-6307 Green .88mm (Medium/Heavy)
072-4055 (055) 072-4090 (090)
surface and a warm, round, musical tone. They are also very 098-6308 Blue 1.00mm (Heavy)
072-4060 (060) 072-4095 (095)
072-4065 (065) durable. Models: 098-6309 Purple 1.14mm (Extra Heavy)
072-4100 (100)
072-4070 (070) 072-4105 (105) 351 Shape 351 Shape
072-4075 (075) 098-1129 Pink, Thin 098-6004 Red ,50mm (Thin)
098-1130 Pink, Medium 098-6005 Orange .60mm (Thin/Medium)
098-1131 Pink, Heavy 098-6006 Yellow .73mm (Medium)
098-6007 Green .88mm (Medium/Heavy)
098-1229 Yellow, Thin 098-6008 Blue 1.00mm (Heavy)
098-1230 Yellow, Medium
098-6009 Purple 1.14mm (Extra Heavy)
098-1231 Yellow, Heavy
355 Shape
098-1329 Red, Thin 098-6504 Red .50mm (Thin)
098-1330 Red, Medium 098-6505 Orange .60mm (Thin/Medium)
098-1331 Red, Heavy 098-6506 Yellow 73mm (Medium)
actual 098-6507 Green .88mm (Medium/Heavy)
098-1429 Transparent Blue, Thin
098-6508 Blue 1.00mm (Heavy)
s/zes 098-1430 Transparent Blue, Medium
098-6509 Purple 1.14mm (Extra Heavy)
098-1431 Transparent Blue, Heavy

2S Fender Frontline
358 Shape GIG BAGS
098-6604 Red .50mm (Thin)

ACCESSORIES
098-6605 Orange .60mm (Thin/Medium)
098-6606 Yellow 73mm (Medium)
098-6607 Green .88mm (Medium/Heavy)
098-6608 Blue 1.00mm (Heavy)
098-6609 Purple 1.14mm (Extra Heavy)
390 Shape
098-6704 Red .50mm (Thin)
098-6705 Orange .60mm (Thin/Medium)
098-6706 Yellow 73mm (Medium) CUSTOM SHOP ACCESSORIES
098-6707 Green .88mm (Medium/Heavy)
098-6708 Blue 1.00mm (Heavy)
098-6709 Purple 1.14mm (Extra Heavy)

NYLON -- MOLDED KNIFE EDGE

Jylon is strong and smooth, for fast runs. Molded with a knife
idge for clear, vibrant tones. Stamped logo helps grip. IVIod-
'Is: Superior gig bags with leather piping and handles, saddle
t51 Shape bags, plush interior. Models:
198-4004 Red .46mm (Thin) 099-2190 Gig Bag, Black Leather w/Fringe
198-4005 Red .58mm (Thin/Medium) 099-2195 Gig Bag, Vintage Tweed
198-4006 Red .71mm (Medium) 099-2196 Gig Bag, Green Khaki
198-4007 Red .88mm (Medium/Heavy)
198-4008 Red STRAPS
.96mm (Heavy)
198-4009 Red Genuine leather straps of various custom designs. Models:
1.21mm (Extra Heavy)
099-0651 Strap, black leather, snake overlays, metal conchos
099-0652 Strap, black leather, snake overlays, metal buckle
PICKPACKS 099-0653 Strap, black alligator leather, red fringe, metal
conchos, metal buckle
^ handy re-sealable pack of 12 celluloid pics featuring a new
099-0654 Strap, black alligator leather, gray fringe, metal
:ender logo. Models:
conchos, metal buckle
(51 Shape 099-0655 Strap, brown leather, brown braid, metal conchos
198-1029-049 Confetti, Thin 099-0656 Strap, black leather, brown braid, metal conchos
198-1030-049 Confetti, IVIedium 099-0657 Strap, cognac alligator leather, large metal buckle
198-1031-049 Confetti, Heavy 099-0658 Strap, black alligator leather, large metal buckle
198-1032-049 Confetti, Extra Heavy 099-0659 Strap, dark brown tooled leather, edge lacing
PICKUPS 099-0660 Strap, tan tooled leather, brown edge lacing
198-1629-049 Shell, Thin
198-1630-049 Shell, Medium Texas Special pickups provide the classic "Fat Strat" or "Beefy
198-1631-049 Shell, Heavy Tele" sound. Models:
PICKS
198-1632-049 Shell, Extra Heavy 099-2111 Texas Special Strat Superior Celluloid picks in 4 different shapes. Models:

099-2121 Texas Special Tele 098-7004 Abalone 351 Thin

198-1829-049 White, Thin 098-7006 Abalone 351 Medium
198-1830-049 White, Medium 098-7008 Abalone 351 Heavy
American '50's pickups capture the bright, sparkly tone of
198-1831-049 White, Heavy 098-7014 White Snake Pearl 351 Thin
vintage guitars from late '54 to '59. Models:
198-1832-049 White, Extra Heavy 098-7016 White Snake Pearl 351 Medium
099-2112 American '50's Strat
098-7018 White Snake Pearl 351 Heavy
098-7024 Black 351 Thin
PICART™ SERIES PlCKGUARDS
098-7026 Black 351 Medium
Fancy pickguards add spice to your axe. Models:
PicArt picks include a wide array of shapes, colors, designs 098-7028 Black 351 Heavy
Stratocaster
and surfaces. Models: 098-7204 Abalone 346 Thin
099-2140 Strat, White Pearl
098-7206 Abalone 346 Medium
346 Shape 099-2141 Strat, Black Pearl
098-1017-008 Totem, Medium 098-7208 Abalone 346 Heavy
099-2142 Strat, Gold Anodized 347 GO
098-7304 Abalone Thin
098-1017-009 Totem, Heavy 099-2143 Strat, Tortoise
098-7306 Abalone 347 Medium u
099-2144 Strat, Mint Green
098-1017-013 Mardi Gras, Medium 098-7308 Abalone 347 Heavy ec
098-1017-014
351 Shape
IVIardi Gras, Heavy 099-2220 Strat, 2 HB, White Pearl
099-2221 Strat, 2 HB, Black Pearl
099-2145 1 HB/2SC Strat, White Pearl
098-7604 Abalone
098-7606 Abalone
358
358
Thin
Medium 5
098-1017-001 Tattoo GLO, Thin 098-7608 Abalone 358 Heavy
099-2146 1 HB/2SC Strat, Black Pearl
098-1017-002 Tattoo GLO, Medium
099-2230 Strat, 2 HB/1 SC, White Pearl
098-1017-003 Tattoo GLO, Heavy
099-2231 Strat, 2 HB/1 SC, Black Pearl
098-1017-004 Myth Metal, Thin Telecaster
<»
098-1017-005 Myth Metal, Medium 099-2150 Tele, White Pearl ^
098-1017-006 Myth Metal, Heavy 099-2151 Tele, Black Pearl u
099-21.§4. Tele, Mint Green
098-1017-012 Jungle, Heavy
Precision Bass
098-1017-017 Mardi Gras, Medium 099-2160 P-Bass, White Pearl
098-1017-018 Mardi Gras, Heavy 099-2161 P-Bass, Black Pearl
355 Shape Jazz Bass CO
098-1017-010 Totem, Medium 099-2170 J-Bass, White Pearl
098-1017-011 Totem, Heavy 099-2171 J-Bass, Black Pearl
098-1017-015 Mardi Gras, Medium
"Aluminum Art" Series
098-1017-016 Mardi Gras, Heavy
358 Shape
099-2180-100 Strat, Silver
u!
099-2180-100 Strat,Gold u]
098-1017-007 IVIyth Metal, Extra Heavy 099-2180-100 Strat, Black

Fender Frontline 29
 STRAP SECURITY LOCK SYSTEMS Roller nut
FENDER-LACE SENSORS Provides a secure connection between strap and guitar, but Lets strings slide easier, reducing tremolo intonation prob-
snaps on and off easily at the touch of a button. Chrome cov- lems. Models:
ered. Models: 099-0815 Wilkinson Nut, 9 to 42 string guage
099-0690 Locks 099-0812 LSR Nut, universal, 9 to 52 string guage
099-0691 Buttons
Hipshot Trem-Setter
Adds return to pitch and string stability to tremolo systems.
GUITAR REPLACEMENT PARTS Models:
099-0811 Hipshot Trem-Setter Kit
VINTAGE HARDWARE
Fender-Floyd Rose Locking Tremolo
Innovative new bridge keeps guitar in tune while retaining the
feel of a vintage tremolo. O.E.M. in Strat Plus and Ultra. Easy
retrofit for all previous Am Std and Plus models. Best with
The innovative low noise, high output units with incredible
LSR nut and locking keys. Models:
response and sustain. Available to retrofit most Fender style
199-6510-100 Fender-Floyd Rose Locking Tremolo
guitars. Black (506), Chrome (100) or White (000) covers as
Assembly
indicated. Models:
Stratocaster PlCKGUARDS
099-2000 Gold Strat™, Blk, Wht Bridge Kits
099-0810 Tele Bridge Kit, 3 to 6-section bridge conversion Vintage
099-2001 Blue Strat™, Blk, Wht
099-2049 Tremolo Bridge, Vintage Stratocaster The pickguards used on instruments in the '50's and '60's
099-2002 Red Strat™, Blk, Wht
099-2051 Bridge Sections, Vintage Stratocaster and reissues of those classics. Models:
099-2003 Silver Strat™, Blk, Wht
099-2017 Pickguard, '57 Stratocaster, 1 -ply, white
Telecaster String Guide 099-2018 Pickguard, '62 Stratocaster, 3-ply, white
099-2065 Blue Tele Bridge, Blk 099-2010 String Guide, Vintage Stratocaster 099-2019 Pickguard, '52 Telecaster, 1 -ply, black
099-2066 Red Tele Bridge, Blk 099-2011 String Guide, Vintage Telecaster 099-2020 Pickguard, '57 Precision Bass, gold
099-2067 Silver Tele Neck, Chrome 099-2012 String Guide, Vintage P-Bass & J-Bass 099-2021 Pickguard, '62 Precision Bass, 4-ply, shell
099-2068 Blue Tele Neck, Chrome 099-1361 Pickguard, Precision Bass, 3-ply, white
Fret Wire 099-2022 Pickguard, '62 Jazz Bass, 4-ply, shell
Bass 099-2014 Fret Wire, Vintage Guitar
099-2006 Silver J-Bass™ [Neck], Blk 099-2015 Fret Wire, Vintage Bass
American Standard
099-2007 Silver J-Bass™ [Bridge], Blk 099-1359 Pickguard, Black, Stratocaster
Strap Button
099-2008 Silver P-Bass™, Blk
099-2013 Strap Button, Vintage Gtr & Bass
FINE TUNE LOCKING NUTS
Dually's
Knobs 099-0620 Fine Tune Locking Nut Kit, Chrome
Drop-in replacements for traditional humbucking mounting.
099-1366 Chrome Knobs, Tele & P-Bass
099-2060 Red-Blue Dually, Blk, Wht
099-2056 Dome Knobs, Vintage Tele PICKUPS
099-2061 Red-Silver Dually, Blk, Wht
099-2035 Tone/Vol Knobs, Vintage Stratocaster rhe pickups that started it all. Models:
099-2062 Blue-Gold Dually, Blk, Wht
099-1365 Tone/Vol. Knobs, Black, Strat 399-2043 Pickup, '57 and '62 Stratocaster
099-2063 Red-Red Dually, Blk, Wht
399-2044 Pickup, Neck, Vintage Telecaster
099-2064 Gold-Gold Dually, Blk, Wht
Strat Accessory Kits 399-2045 Pickup, Bridge, Vintage Telecaster
Acoustic
099-1362 Stratocaster White Accessory Kit 399-2046 Pickup, Precision Bass
099-1363 Stratocaster Black Accessory Kit 399-2047 Pickup, Neck, Vintage Jazz Bass
Easy mount, drop-in units for acoustic guitars.
099-2080 Bronze Acoustic, Blk
099-1368 Stratocaster Aged White Accessory Kit 399-2048 Pickup, Bridge, Vintage Jazz Bass

Pickup Covers
STRAP AND STRAP ACCESSORIES ES£E££1B33THffi1^ auiii(ibi*i<fc»ii*u(da FLOYD ROSE PRODUCTS
-D9g-2D37 Pickup Covers, Vintage Precision Bass
099-2038 Pickup Covers, Vintage Jazz Bass
099-1364 Pickup Covers, Black, Strat, Pkg of 3

Additional Vintage Small Parts

099-2039 Tremolo Arm, Vintage Stratocaster
099-2040 Machine Heads, Vintage Strat/Tele
099-2041 3-Way Switch, Vintage Stratocaster/Tele
099-2042 Bone Nut, Vintage Stratocaster & Telecaster
099-2016 Pckgrd Screws, Vintage Gtr & Bass
099-2036 Thumbrest, Precision & Jazz Bass
099-2055 Control Plate, Chrome, Jazz Bass
099-2058 Control Plate, Vintage Telecaster
/ /
GUITAR STRAPS
AMERICAN STANDARD HARDWARE
Monogrammed straps shipped with Fender's American-made FLOYD ROSE BRIDGES
guitars; also in neon colors. Vintage leather strap: longer ver- All Floyd Rose® parts are available in chrome (100), gold
sion of '50's and '60's straps. 21/2" Poly Logo designed for (200) and black (300). (Note: PRO Nut Assemblies must be
comfort, like 3" Tweed (Fender's guitar case/amp cover mate- used with PRO Bridge Assemblies, and have different color
rial). Woven strap has "running" Fender logo. Models: numbers.) Each kit complete with all mounting hardware and
099-0670 Bronco Cowhide Strap, 3" super comfort instructions. Order nut to match your specific guitar; Models:
099-0671 Woven Strap, Black/Gray running logo
Bridge Assemblies
099-0678 Monogrammed Strap, Gray Neon
Floyd Rose PRO tremolo bridges offer Floyd's most recent
099-0679 Monogrammed Strap, Orange Neon
innovations, like low profile construction for playing comfort.
099-0680 IVIonogrammed Strap, Black Neon
Models:
099-0681 Monogrammed Strap, Black
199-6010 FR PRO bridge assembly
099-0682 Monogrammed Strap, Red
099-0683 Monogrammed Strap, White Floyd Rose "Original" tremolo bridges—the incredible units
099-0684 Vintage Strap, Slim, Black 099-1367 5-Way Selector Switch, Strat
that started it all. Models:
099-0685 21/2" Poly Fender Logo Strap 099-2050 Tremolo Bridge, American Std. 199-6210 FR "Original" bridge assembly
099-0686 21/2" Poly Strat Logo Strap 099-2052 TBX Tone Control Kit
099-2053 Guitar Cable, American Std., 10 ft. Floyd Rose II tremolo bridges: same look and feel as the orig-
099-0688 Tweed Strap, 3" super comfort
099-2054 Tremolo Arm, American Standard inals, but with a mellower tone. Models:
099-0606 2" Poly Black w/pickholder
099-0818 Fender-Schaller Locking Keys 199-6410 FR II, bridge assembly
30 Fender Frontline
 NUT ASSEMBLIES 004-1529 Cover, Champion 110
"Original" and II 004-1531 Cover, Performer 1 000 Head
Narrow nut. Width: 19/is"; Height: .225"; Spacing: 1.30; 004-1532 Cover, Concert
Radius: 10". Models: 004-1533 Cover, Super
199-6811 FR#1 nut assembly 004-1534 Cover, GE 4-12 Enclosure
004-1539 Cover, BXR 100
Average Vintage Stratocaster width. Width: 15/8"; Height: 004-1598 Cover, M-80 Bass
.225"; Spacing: 1.37; Radius: 10". Models: 004-7483 Cover, '65 Deluxe Reverb
199-6812 FR #2 nut assembly 004-7484 Cover, Pro Junior (Brown)
004-7485 Cover, Blues Deluxe (Brown)
Wide nut, narrow spacing for binding. Width: 111/i6"; Height:
004-8913 Cover, BXR 60
.275"; Spacing: 1.40; Radius: 10". Models:
004-8915 Cover, Blues Deluxe '63 Reverb (Brown)
199-6813 FR #3 nut assembly
004-8916 Cover, Blues DeVille 212 (Brown)
Wide width, wide space. Width: 111/ie"; Height: .275"; Spacing:
AMPLIFIER HARDWARE
099-0930 Amp Knobs, 1 -1 0, Pkg of 6
1.43; Radius: 10". Models:
099-0931 Amp Knobs, Red Pointer, Pkg of 6
199-6814 FR #4 nut assembly
099-0932 Amp Knobs, Black Pointer, Pkg of 6
Extremely wide. Width: 13/4"; Height: .275"; Spacing: 1.50;
Radius: 10". Models: Amp Handles include handle caps, screws, steel insert and
199-6815 FR #5 nut assembly vinyl handle. Models:
099-0948 Amp Handle, Standard, w/Hardware
Same as Nut #2, but with bullet nut relief. Width: 19/16";
099-0900 Amp Handle, Vintage, w/Hardware
Height: .225"; Spacing: 1.30; Radius: 10". Models:
099-0900 Amp Handle, Molded Brown, w/Hardware
199-6816 FR #6 nut assembly

Same as Nut #2, but with bullet nut relief. Width: W; Height: Amp model for amp and speaker cabinets with 3/4" walls;
.225"; Spacing: 1.37; Radius: 10". Models: Universal model for closed cabinet backs and other 3-screw
199-6817 FR #7 nut assembly applications. Mounting screws included. Models:
099-1348 Amp Corners, Set of 4 w/Hardware
Same as Nut #4, but flatter radius. Width: in/is"; Height:
099-1350 Univ. Corners, Set of 4 w/Hardware
.225"; Spacing: 1.43; Radius: 15". Models:
199-6818 FR #8 nut assembly Glides include rubber inserts and screws. Models: Premium amplifier covers made of Fleece-backed Boltaflex™
099-3900 Sphinx Glides, Set of 4 material coated with PreFixx™ protective finish. Models:
PRO 004-1535 Cover, Vibro-King
Average Vintage Stratocaster width. Width: 15/8"; Height: Casters make moving heavy amps easy. Models: 004-1536 Cover, Tone-Master Head
.225"; Spacing: 1.37; Radius: 10". Models: 099-4000 Casters, Set of 4 w/Hardware 004-1537 Cover, Tone-Master 2-1 2 Enclosure
199-6812 FR #2 nut assembly, available in Chrome (110), Replacement "tilt back" legs for vintage and reissue amps.
004-1538 Cover, Tone-Master 4-1 2 Enclosure
Gold (210) and Black (310) Models: 004-9050 Cover, Rumble Bass, head

099-0712 Amp Legs, 1 6", w/Hardware 004-9051 Cover, Rumble Bass, enclosure
Wide width, wide space. Width: 111/ie"; Height: .275"; Spacing:
1.43; Radius: 10". Models: 099-0713 Amp Legs, 1 9", w/Hardware
199-6814 FR #4 nut assembly, available in Chrome (110), GENERAL ACCESSORIES
Gold (210) and Black (310)
GUITAR AMP COVERS
FENDER-MONSTER CABLES
Same as Nut #4, but flatter radius. Width: 111/16"; Height: Fender-Player and Pro 200 series are premium, low noise
.225"; Spacing: 1.43; Radius: 15". Models: Black (standard) cables. Models:
199-6818 FR #8 nut assembly, available in Chrome (110),
Brown (vintage) Instrument
Gold (210) and Black (310)
099-5070 Player 200,10 ft.
099-5071 Player 200, 20 ft.
REPLACEMENT ARM KITS
Replacement Arm Kits include new bushings. Models:
199-7000-100 Chrome Arm Replacement Kit Loudspeaker (16 gauge)
099-5072 Pro 200, 6 ft.
199-7000-200 Gold Arm Replacement Kit
099-5073 Pro 200, 25 ft.
199-7000-300 Black Arm Replacement Kit

Fender-Monster Player 400 series are low noise, ultra high

AMPLIFIER PARTS clarity instrument cables. Models:
099-5077 Player 400,12 ft. Instrument
099-5078 Player 400, 25 ft. Instrument
Black (standard)
Brown (vintage)

Fender amplifier covers are made of treated Nylon that protects

amps from wear and tear. Black except where noted. Models:
002-9880 Cover, Champ 12
002-9881 Cover, Deluxe 11 2, Performer 650, Deluxe 85
002-9883 Cover, Princeton 11 2, Eighty-Five
002-9885 Cover, '65 Twin, Ultra Chorus, The Twin, Pro
185, Power Chorus
002-9886-' Cover, Dual Showman Top CLEANING AND TUNING AIDS
002-9887 Cover, all 4-12 Enclosures Fender's famous treated soft cloth. Models:
002-9888 Cover, Performer 1000, Stage 112SE, Stage 185, 099-0400 Polish Cloth
AMPLIFIER TUBES Princeton Chorus
The finest quality available, consistently producing the best
sound. Models:
002-9891 Cover, Super 60 (1 -12" version)
003-7961 Cover, Super 112/210
Polish, safe for use on all instruments. Models:
099-0500 Polish, 4 oz. pump spray S3
099-5090 5881/6L6WGC, Matched Pair 003-7962 Cover, M-80 Combo
099-5091 7025/12AX7A 003-7963 Cover, M-80 Head Tuning Forks include vinyl pouch. Models:
099-5092 12AT7 003-7964 Cover, IV1-80 Chorus 099-0955 Tuning Fork, A 440.0 Hz.
099-5093 6V6 GT, Pair
099-5094 5U4 GB
003-7965 Cover, '59 Bassman, Blues DeVille (Brown)
003-7966 Cover, '63 Vibroverb (Brown)
099-0956 Tuning Fork, E 329.6 Hz.
u
u
099-5095 6550A, G.E., Matched Pair 003-7967 Cover, BXR 300C Quickly, safely stretches new strings. Models:
099-5096 6CA7/EL-34, G.E., Matched Pair 004-0155 Cover, Champ 25SE 099-0957 String Stretcher, Nylon String
099-5097 5AR4 004-0155 Cover, Champ 25 099-0958 String Stretcher, Steel String
099-5098 EL84 Fender Frontline 31
Kit includes pump spray polish, special polish cloth, deluxe 002-5917 Hardshell Case, black Tolex outside, fits:
peg winder, black poly 2" strap and pick sampler. Models: Jazzmaster and Jaguar
099-2512 "5 in 1 " Accessory Kit 004-0153 Hardshell Case, black Tolex outside, fits: Mustang
002-8586 Hardshell Case, black Tolex outside, fits: Strato-
For electrics or acoustics. Include sharp/flat/in-tune LEDs, caster Xl I
in/out jacks and microphone. Models:
023-9996 AX-5000 Chromatic Automatic Tuner, variable Standard
"A" reference (435-446Hz), chromatic pitch dis- 004-0900 Molded Shaped Case, fits: all Strats and Teles
play
023-9997 TX-1000 Automatic Guitar/Bass Tuner, 6 pitch BASS GUITAR
indicators ELECTRONIC PRODUCTS Hardshell and molded cases protect bass from almost any-
Attractive and functional mini products that feature "big" per-
thing, with locking latch and metal hinges. Models:
formance quality. Models:
Deluxe
023-9980 '59 Bassman Mini Amp, MA-59, small version
002-3640 Tweed Case, J-Bass (Rt Hand only)
of original, in Vintage Yellow
002-3639 Tweed Case, P-Bass (Rt Hand only)
023-9992 IVIini Practicer, Black, includes headphones and
002-5781 Hardshell Case,J-Bass, P-Bass (Lft Hnd only)
microphone
002-5001 Hardshell Case, fits 32" Precision Bass
023-9993 Mycro Headphone Amplifier, Black, w/3 set-
tings, includes headphones
002-5873 Hardshell Case, fits 32" P-Bass (Lft Hnd only)
023-9998 Bass IVIycro Headphone Amplifier, Black, w/3
tone settings, includes headphones Standard
004-1692 Standard Molded Shaped Case, tits: Jazz Bass-
The Bass Stereo Pak is a self-contained unit with special "jam es and Precision Basses (Rt Hnd only)
together" stereo jacks for connection to other Stereo Paks. 004-8318 Small Body Molded Shaped Case, fits small bass
Features: 3-band EQ, echo, switchable stereo/flanger [speed,
BOOKS
repeat, intensity, time], spkr simulator, Eff loop, Aux in/out
For every musician's library. Models:
jack; Models:
099-5000 Fender Stratocaster, 40th Anniversary Edition
023-9005 Bass Stereo Pak
099-5001 Guitar Identification
099-5002 Fender Chord Finder
The MS-8 MIDI Switcher can be programmed to turn effects
099-5003 Guitar Method, Fender Edition
on/off, control amp footswitch functions, and more. Features:
099-5004 The Fender Bass
8 programmable switches, 128 user programs, MIDI
099-5005 The Fender Telecaster
in/out/thru, transmits on 5 assignable MIDI channels, MIDI
099-5006 The Fender Book, Complete History
mapping; Models:
099-5007 Guitar Classics, Strat, Volume I
023-9100 MS-8 MIDI Switcher
099-5008 Guitar Classics, Tele, Volume I
099-5009 Guitar Classics, Bass, Volume I
099-5010 Ultimate Chord User's Guide
099-5011 Fender Amplifiers, The First 50 Years
ACOUSTIC GUITAR
VIDEO Hardshell and molded cases protect guitar from almost any-
How to string, tune, clean and adjust to factory specs for thing, with locking latch and metal hinges. Models:
maximum playability. Models: 091 -9461 Hardshell Case, fits: Newporter, Redondo, Catalina,
099-5020-000 Video—Caring For Your Guitar, VHS GIG BAGS
Malibu, Del Mar, La Brea, Santa Maria, Concord
Durable Nylon soft case with waterproof backing, 3/4" soft
099-5020-040 Video—Caring For Your Guitar, PAL 091 -9462 Hardshell Case, fits: Montara
padding, Nylon zippers and clasp fasteners, 3-way carrying
091-9463 Molded Case, fits: 1000sx, HOOsx, 1105sxe,
straps, full-roll binding. Models:
1200sx,1300sx
099-1510 Gig Bag, Fender, Guitar
099-1520 Gig Bag, Fender, Bass
Economy cases are lightweight and convenient for carrying
099-1530 Gig Bag,Fender, Acoustic
guitar anywhere. Models:
099-1540 Gig Bag, Fender, Small body guitar
091 -9475 Economy Case, fits: California and DG series
099-1570 Gig Bag, Squier, Bass
091 -9465 Economy Case, fits Avalon and nylon string
099-1580 Gig Bag, Squier, Guitar

ELECTRIC GUITAR
BRIEFCASES
Briefcases with internal organizer. Ideal for picks, strings,
accessories, or paperwork. Models:
099-1000 Briefcase, Vintage tweed
GUITAR AND AMP STANDS
Guitar Stand features sturdy construction for safety. Black EFFECTS BAG
w/padded supports. Models: Black Nylon, with padded compartments for effects, tickets,
099-1800 Electric Guitar Stand magazines, etc. Models:
099-1810 Acoustic Guitar Stand 099-1550 Musician's Effects Bag

Amp/Guitar Stand raises amp at any angle, holds 1 or 2 gui-

tars, folds up for portability. Models: Hardshell and molded cases protect guitar from almost any-
099-1825 Amp/Guitar Stand, small, amps to 22.5" thing, with locking latch and metal hinges. Models:
099-1826 Amp/Guitar Stand, large, amps to 27,45" Deluxe
099-1827 Additional Electric Guitar Holder 002-3637 Tweed Case, Strat, Tele (Rt hnd only)
099-1828 Additional Acoustic Guitar Holder 004-0901 Deluxe Molded Shaped Case, heavy duty hrdwr,
fits: all Strats and Teles
"Swivel" design safely holds instruments with any headstock, 003-6555 Hardshell Case, gray textured "lizard-like" Tolex
surgical tubing protects finish. Models: outside, fits: Strats and Teles
099-1850 Guitar Hanger, slatwall 003-8977 Hardshell Case, black Tolex outside, fits: Strats
099-1860 Guitar Hanger, screw plate mount and Teles

32 Fender Frontline
 Vibro-King!
Loads of Great Vintage Features
Together in One Amp!
ike all models from the Custom Amp Shop, the Vibro-King sounds great and looks
iterrific: Blonde tolex covering, Oxblood grill cloth and vintage "radio" knobs
complement the Vibro-King's all-tube circuitry and point-to-point hand wiring.
This amp's trademark is the built in tube reverb, which is controlled by dwell, mix
and tone controls. Other features include three 10" Alnico Blue speakers, a "Fat"
switch, 3-band EQ, effects loop and tremolo (with speed and intensity controls).
A footswitch which turns the tremolo and "Fat" switch on and off
comes standard.

LONE STAR BLUES

PLAYER: OTIS GRAND
BANDS: Solo artist
INSTRUMENT USED: '54 Special Edition Vintage Strat with 3 vintage single coils.
SOUND: For his down-home Texas blues style, Otis requires a clean bright tone with a stinging attack,
so he can dig into his guitar

••••oooo® for a mean sound when

he wants it.

Bright Blue (bridge pickup)

PLAYER: CARL VERHEYEN

BANDS: Tours, albums, movies, TV; too many to list!
INSTRUMENT USED: '65 Vintage Strat
Searing Solo (bridge pickup)
with 3 vintage single coils.
SOUND: Like most in-demand studio players, Carl must
have a myriad of sounds at his fingertips, from
sweet clean tones to blistering rock screamers.

Chordal Swell (middle pickup)

PLAYER: BRYAN AUSTIN

BANDS: Solo artist
INSTRUMENT USED: American Standard Tele
with 2 Texas special single coils.
SOUND: Because his playing incorporates elements of
bluegrass, country and rock, Bryan needs an
amp that will give him depth and sustain The Big Twang (bridge pickup)
without breaking up.

PLAYER: JOE MANUEL

BANDS: Merle Haggard, Ricky Skaggs
INSTRUMENT USED: Tele with 3 vintage single-coil pickups.
SOUND: As the quintessential country guitar player, Joe opts for an amp that provides clean, rich
tone that cuts through the vocals without overpowering them.

•••••••
Clean Power (all pickups)
 Speakers
Looking to the Future
By Scott Hollestelle

"our band is getting club bookings, and you may work your way up to much larger venues. It's time
for a better speaker system. Do you buy what will work for the present, or spend mega-bucks on a
system you might need somewhere down the line?
Consider this: an upgradable system that gives you what you need now, but can be expanded for
bigger and better things in the future. Sound too good to be true? Read on!

Dispersion
Speakers are normally the most expensive part of a system. Versatile, High frequency is much more
adaptive speakers will match your needs today, and for years to directional then low frequen-
come. Following are some qualities to look for when shopping. cy. Be aware of what area the
high frequency driver is cov-
Split Personality ering. (Some innovative
One of the most important features for upgradable speaker enclosures enclosures actually let you
is the capability to operate in a full-range or bi-amp capacity: change this dispersion range.)
You should narrow it when
Full-Range: Perfect for smaller situations,
clustering speakers, to mini-
built-in high-level (after the power amp)
mize sound overlap (which
crossovers let you drive the entire system
causes phase cancellation).
with one power amp.

Bi-Ampable: Flick a switch, and the

high and low speakers can now be
accessed separately. Electronic crossovers
separate highs and lows before power amps,
giving you more power, less distortion and
crisper sound.

Sound Elevation
Many situations call for speakers to be
raised up for best performance—make
sure yours will mount on a tripod stand.
Some subwoofers act as a base for a
mounting pole to raise speakers up.
For larger venues, speakers should be
reinforced for "flying" on a rigging tmss. Clusters
Speakers can be

191 "clustered" to
widen the range
of where the
sound goes, and
increase loud-
ness. Trapezoidal
cabinets with
correct horn dis-
persion allow
speakers to be
efficiently clustered

In Conclusion
Using these guidelines, you should be able to conserve money
now without sacrificing your plans for the future.
Happy shopping!
 Mike Lewis, Fender's

uriTTone
amplifier guru, has been a
professional working musi-
dan for over 22 years. From
his gig as a guitarist with
Chuck Berry's band on the
Rolling Stones tour, to his
years as a session musician, Mike Lewis
he has played every style,
from Country & Western to
Heavy Metal. Having been
there, he knows what ^ne of the biggest bummers for guitar players is trying to
works on the front line.
'duplicate your rehearsal sound at the gig. Problems
include the reflectivity of objects in the room—especially
people! Every player has his/her own experience, but
here are a few solutions that have worked for me:

PROBLEM SOLUTION

Volume '^ou guys are reaUy great but, can you turn—especially
Wars with art amp that has a minimum volume required before the "right sound" can be
achieved.
Put the amp on the floor, tilt it back, and position yourself to be on axis with
fhe speakers). Your own body will absorb SQurid (and your own ears will
prev^y^ from playing to^
Place the amp on the side of the stage and point it directly at the band (away
fromtear and crowd areas). If your amp has an open bac}<, you may need to
place something behind it.

Sound Is Turn up the midrange. Midrange is the

"Thin" body of your sound—you usually need
more than you think to cut through a
bass player and drummer. If you have no
mid control, turn the bass and treble
down and the volume up.

iiiil§^K!^J*H'](sjjj^'l'!'Nj^il;N^a^!?^^i^^
'ti'i^S?iS3^WtSSSwi»i"SS^uy'iiSSSSSys^&iSt»
Muddy ^i^.comiaLcii^^^
Tone ^essingiegyifmienf^are used, especially as the rpomfllls Up with people.
^ ^ef^tft^am^
; ^projeet^ut^sound over the crowd.
^Useiiilmin^^ can
con^^^t6a"faivm^^ • ^ ^

Not "Sounds great on stage but it's not making it to the back of the room," usually
Enough happens in a full house: your sound is absorbed by all the people.
Reach Get the amp off the floor—m^ybe even up to chest level—and point it at the
furthest point in the room (where people are). But remember, you may have to
reposition it if the crowd thins out. Get your amp ott the (loop! This
Move your amp as far forward on the stage as space allows—in front of the
actually solves many problems and
drums if possible (if your amp has an open back, the dmmmer will be able to
hear you just fine). I recommend it to all combo amp
Don't stand directly in front of your amp
(self-explanatory).
Turn up the mids and highs (probably just beyond what sounds
right to you on stage).

Fender Frontline 35
 Double Double
Stops Stops
By Gary Park
'ello fellow guitar addicts! And greetings from Howdyland, where the travels are long
.and the corndogs all taste the same—from California to Rhode Island.
I would like to discuss a phenomenon called "double stops." This technique sounds
great slow or fast, and works whether—on your merry way along the fretboard—you're
ascending (going up) or descending (going down).
It's a technique I first heard listening to steel guitarists and fiddle players, for whom it is
a fairly common practice. When applied to guitar solos, it really lights things up! (For a
really good example of this style, check out steel guitarist extraordinaire Paul Franklin on
Dire Straits' Live:
On The Night CD.) o -in -in -in
-44-

The example ~z~

~§—16—1+
shown here is based 567Q7
-8—9-
on a D major chord,
but by moving it left
Currently a member of Boy Howdy, guitarist hand
Cary Park has toured or recorded with Randy Meisner, around you

[JU1
Maria Muldaur, and foel Feeney. can use it in rhythm
pattern etc.
any key!

claw and carefully remove the bridge.

Upgrading Next, take out the screws holding down

the Wilkinson roller nut. Then pull off the

Your Strat Plus

nut and any shims underneath it.

Prep The Nut Slot

With wire cutters or razor blade, cut the
By John Suhr
sharp tips off the ends of a toothpick, then
cut the toothpick in half. Coat the tips with
•trat Plus players enjoy an innovative tremolo system with the feel of
glue and lightly tap them into the two old
a traditional system and the tuning stability of a locking one. But they screw holes. When the glue is thoroughly
can get even better performance by installing the new Fender-Floyd Rose
Tremolo system and LSR Roller nut.1 With a little care, the mod can be
done at home. Here's how:

Remove The Old Components

Fender Master Take off the strings and tremolo backplate.
Builder fohn Supporting the bridge to keep it from falling,
Suhr has built
lift the tremolo springs off the tremolo
guitars for a
roster of clients
block (use a small flathead screwdriver if nec-
essary), then take the springs off the dry, cut the excess off with a razor blade or
too long to
//st here, but small file until it is flush with the surface.
,- including Use a small flat sanding block with some
, Steve Stevens 220 grit sandpaper—or a fine file—to insure
(Billy Idol), that the nut shelf is flat. Be careful not to roll
Mark Knopfler
the edges.
(Dire Straits)
^*^*^a. andfamie
West-Oram Do N(
(The Fixx).
1 oil tin
edges.

'Almost any Fender guitar can be modified for an LSR Roller nut, but if the Wilkinson nut is not
already installed (as on the Strat Plus), this is not an easy job. See an authorized Fender repair
center for installation.

36 Fender Frontline
'¥
 The Guitar Surgery
Manual By Her Gunz

'ast week I was sitting in my 5-way switch, unh-hunh ... "I mut-

1 office when a call came in tered to myself while I worked. As we

on the HotRod-Line. After lis- reached the lab and put Sylvia on
tening to a lot of incoherent the slab, I faced Richard.
burbling, I finally got the story. "We can fix her up good as
"It's Sylvia," sobbed new!" I said, eliciting a sigh of
•Richard, a local relief. "But," I continued, "as
guitar hero, "she's been in a long as we're going 'in/ we
terrible accident." could make a few changes."
Her Canz is Fender's String, Picks and
Accessories expert. If he can 't tell you "Sylvia" was Richard's Mid- Soon, Richard and I were pouring over
everything about it, it probably hasn't night Blue Strat. When last the Fender String, Pick & Accessory catalog.
been invented! night's gig turned ugly she was By the time the operation was finished,
knocked off stage and stomped Sylvia was outfitted with two Texas Special sin-
by the enthusiastic brawlers. "Her" neck and body had escaped gle-coils, a Lace Sensor Dually with a mini 3-way
unscathed, but the pickguard and pickups were mangled. switch to access all possible sounds, and a black pearl
I rushed to Richard's house, gingerly lifted his beloved axe into the pickguard.
MediVan, and sped off to my operating room: a workshop stocked Richard's situation was extreme, but others can benefit from his
with every part and accessory Fender offered. On the way, I started example. Even if your guitar isn't damaged, why not consider some
exploratory surgery on Sylvia. upgrades or cosmetic surgery of your own. Just check the new
"Stock white 3-ply pickguard, original single-coil pickups, standard S, P & A catalog for ideas!

Install The New Nut Install The New Bridge high with no
Place the Fender LSR nut in the nut shelf— Carefully place the Fender-Floyd Rose bridge shims, take your
guitar to an autho-
mounting holes towards the headstock, onto the existing posts. While holding the
metal side towards the fingerboard. Center bridge, place each spring into the hole on rized Fender repair
the nut in the slot while pressing it against the tremolo block first, then onto the hook center.)

the front edge of the of the claw (using a small flathead screwdriv- Loosen the
fingerboard, and mark mounting screws
er in the spring hole if necessary).
the mounting holes and strings. Slide
using a sharp awl or the shim in from
Make The Initial Adjustments the side, round end
small nail. Remove
String up the guitar, tune to pitch and adjust first, between the bottom of the roller nut
the nut.
the bridge according to the Tech Tips in and the top of the bezel. Tighten the screws,
Drill "feeder holes"
Frontline Volume 132 or the instruction tune up and check again.
for the mounting
sheet that comes with the bridge. Do not set
screws. Tape the #51
the intonation yet! Make The Final Adjustments
drill bit with masking
tape so you only drill Proceed with the intonation and any
9/32" or .275" into the Set The Nut Height final adjustments to the bridge.
shelf. Do not drill Use your thumb to press down the high E
through the neck! string behind the
Rub the threads of third fret. With
the 2 screws onto a bar your first finger,
of soap for lubrication. tap the string to
Place the black plastic the first fret to
bezel on the nut shelf, check for a gap
place the roller nut on between the first
top of the plastic lip fret and the
(same direction as string. Check all
before). While pressing the strings. If
the plastic bezel and there is no gap,
roller nut against the you need to shim
fingerboard, install the nut. (The nut may be as low as you like
and snugly tighten the as long as there is some gap. If the nut is too
screws with the #0
Phillips screwdriver.
'For a copy of this article, send a SELF-ADDRESSED, STAMPED ENVELOPE to: Frontline #13
Do not over tighten!
Tech Tips, 11999 San Vicente Blvd., Suite 401, Los Angeles, CA 90049.

Fender Frontline 37
 HERE SHOW
YOU CAN WIN!
Answer the 10 questions in this survey.
Mail us this questionnaire, or a copy, by
May 1. If we pull your name, you win!
NOTE: You must complete all
questions in order to be eligible.

1. Which guitar finish from Fender is helping to

preserve the environment?

BtUES DEI-US£
2. What artist has a Signature Series guitar
with a Polka Dot finish?

3. Name at least two Fender products

(besides the Strat) Freddie Tavares was

Signed by these Players! With its classic looks and dynamite sound, Fend-
er's Blues Deluxe amp combines yesterday's best
involved in developing:

features with today's technology. We took this one

to a few hot players and had them autograph it.
Just by filling out and sending in the entry blank 4. From what company can you order the
official Fender Frontline T-shirt?
at the right of this page, you could win
this one-of-a-kind amplifier.
Good luck! 5. Name the three series of speaker enclosures
in Fender's Pro Audio line:

6. Can you subscribe to Frontline magazine?

(Hint: see page 47.)

7. Which two monitor speaker systems have a

unique cover with casters?

8. With what company did Fender join forces

to create a special MIDI guitar?.

9. What did Custom Shop Master Builder Alan

Hamel call the guitars he designed using
barbed wire and calfskin?

10. What amp did Pete Anderson help develop?

Only one entry

per person please!
(duplicate entries will be disqualified)

Name

Street

City_

State. -Zip _

Phone#

Send to: FRONTLINE Blues Deluxe

11999 San Vicente Blvd., Suite 401
Los Angeles, CA 90049
Entries must be postmarked no later than
Fender Frontline MAY 1,1995. Void where prohibited.
 Unearthing Treasures fro
®^ Jintlc Schwurz

lack Schwarz over- had been working this particular site for over
sees training and cer- a week—and the worst part was, we didn't
tification for Fender
even know what we were looking for!
authorized service
"I'll know it when I.see-lt," was all Digger
centers. He also hosts
clinics at stores would^^^lmrteer. Sakes alive, you heard more
around the country, words out of a monk! But he was kno;v?ti:fe)fete
working on people's his infallible j^gs^gtiiig^Hi^fnict, sb we^cxl-i
i" ^ff'SISSsSSiSiiiSSKS i|^J®M|%ll|)acK?of ducMmgiliiHmg^
giuitars. ,^^,^,^..a®iv^^

,s I arched m^|g|Mngt>aisKjx> slamtlie^y?,; .aftet'thel'rinbther.! ..-•' -:''. -/^ ^Sifv^^i: ^

battered pi^ilill^l^lnineiSlsaft'talt All of,asudden^,tIig.;Ha|iit§t^ of

one more time, a muffled thut%t||l(%ili®ss; v'r-tQetsSji^.!^^iS^^:SlKw up-the Custom Tele. You can tell
somewhere off in the distance. A grimy face ; shaft,^?all steipped what we were doing and by the distinctive white binding
appeared from around the bend in the tunnel. scuttled over to see the edge of what appeared around the body.
"That was the east Nanch!" shouted the to be some kind of chest or trunk. Digger He pointed to the second instrument. "A
hoarse voice. "We lost anbtHeftnarr! We,got pushed the hapless discoverer aside and '72 Tele Custom, with a humbucking pickup
to stop now!" ; , . ^- ^"uncovered the rest of the case himsell—some-,, : to the neck and single-coil at the bridge. And
Next to me, the leader of our small arid tmies|sl;a&?B||^SY3i^ the dirt with a spade; fennll^^i^Bxiisewood Tele, with matching
desperate band—a man known only as "Dig- sometimes crushing at istf lovingly with a small rosewobd neck and body, single-coil pickups
ger"—turned his face to the wall and spat. He bmsh he kept in his shirt pocket. When he and 3-way switch. These models haven't been
then addressed the panicked laborer in a dull was done, he had unearthed three cases, all made for years!"
tone. "Keep working," were the only words about 4 feet by 18 inches by 6 inches. At that moment, an eerie cackle echoed
which issued from his lips, before he applied There was dead silence as he opened each through the cavern. "You old fool!" shouted
himself once more to the earth. case slowly. When he was done, one man one of the crew, "those guitars have been
Keeping my thoughts to myself, I attacked fainted, while another choked back a stran- reissued by Fender, part of a whole line of
the stubborn rock as well. I knew better than gled cry. I looked at the old vet in wonder, cool teles from the past. All we had to do was
to add anything. At this point, one word and offered only a single query: "Guitars?" walk into a dealer and buy brand new ones!"
could mean the difference between a group "Not just guitars," he answered, gazing at Needless to say, that was the end of the

tad Al
of weary, frightened men and a raging mob, his find adoringly, "three of the sweetest dig. But we did have some great jam
bent only on escaping this pit of doom. We Telecasters you'll ever see. This here's a '62 sessions on the trip home!

From song transcriptions to

chord diagrams, Strat, Tele
UPOATCDEDmON!
w
and bass facts to the history
of Fender itself, TBLECASTER

the Fender
^ .?^>H!
"Library" is a i cjl'^
^V
wealth of
information.
Why not check Ki31Sl^^li£S?
i@I3H
out a book
today? ^..^
^
,* .-
 lues guitarist Sue Foley has released
(two albums for Austin, Texas label
Antone's. Both records showcase Sue's
YNGWIE MALMSTEEN

talent as a singer and songwriter, but the

most impressive feature is the licks emanat-
ing from her Pink Paisley Telecaster.
Appearing at 94's Concrete Convention,
Yngwie Malmsteen shredded his way
SUE FOIEY through yet another mind-blowing set,
then proceeded to light his guitar on fire
(we're talking flames here)! What will the

^•K-^.l
A
avatar of arppegios come up with next?
Fender recently enlisted the aid of a

)^lf number of players to help field test

their new line of basses. Two of those

,M

v ..<*<'

^ -1
i^l
^-•;

""^.•^"i :'^' ^'-.

'<<y

BANNY GATTON l,^i^;1^1',

^.

!^"

y :'. -4

Tribute To "-HI

.f- •*-•*

The music world, and guitarists in particular, suffered a -<i--.

tragic loss with the death of Danny Gatton, hailed

by many as the "world's greatest unknown guitarist."
Not only was Danny an unbelievably accomplished
guitarist in the technical sense, but one who imbued -I
much of his music with a playfuhiess and fun that made it
a joy to hear as well. From his cover of the theme from
The Simpsons TV show to his habit of using an entire glass bottle as a
slide, Gatton could bring a smile to your face while he drew things out
of his instrument that were seemingly impossible.
A few years ago, with Gatton's input, Fender created the
Danny Gatton Signature Series Telecaster. But he was much more
than just a revered artist or a design partner. As Dan Smith, Fender
VP of marketing for electric guitars put it: "He was a good friend,
an awesome player and was greatly admired by everybody here.
He was truly one of the nicest people I've ever dealt with."

/^-^' ^4(^.F^wlecTrc
^-,ft.\ ^^» ._•• -^- ^ *

.•-'-^.-^...'\-
 .<>»-;•'.;.":/* :^f^
/^r ^•••^^^^7 ^\ •^-"^ ^'^7 ~

surveyed were The Scream's

John Alderete and Brian Beller
from Z (Dweezil Zappa's band),
both of whom really put the new
instruments through their paces!
Look for the results of these
sessions soon.

vents Overseas
Concept Music in Australia paid
homage to their Fender Harley David-
son Stratocaster by holding a
motorcycle workshop, complete
with local riders. Shadows guitarist Hank Marvin attended the event-
probably to see the Mark 1 mock-up version of the original guitar
(complete with spark plugs).
A talented young Austrian guitarist "played the solo from The Wall so
perfectly it was incredible," reports Austrian distributor Willy Bauer, who
spearheaded a contest which offered the aforementioned winner a 1954 Stra-
tocaster signed by Pink Floyd's illustrious David Gilmour himself.
Willy also threw a party to celebrate the 40th anniversary of the Stratocaster
which featured top European musicians performing for over six-and-a-half
hours. The show featured bands from Hungary, Croatia, Germany
and Austria, including Jesus Messerschmitt, Dado Topic and
Andy Baum.
Apparently a refugee from
the legal profession, guitarist
Ben Granfelt from Finland
states the facts pretty clearly
on his new album, The Truth,
a collection of rocking songs
on which he wrings some
great tones out of his
Custom Stratocaster.
 ."* - °

New Releases
3^. Jl
-•.-^".: ^

You can get a sense of his dynamic

stage presence from the On Track
feature at the end of this mag, but to
hear James Murphy tearing up the
fretboard of his Vintage
Stratocaster, you should listen to
Testament's new album, Low.
Bon Jovi celebrated their 10th
anniversary this year, with the
release of Cross Road, a 14-song com-
pilation that highlights the band's
career, as well as two new tracks that

So affordable,
you could get all three!
feature the sounds of Richie Sambo-
ra's Signature Stratocaster.
^
On his new album, 20th Century •^
^

Blues, axe-meister Robin Trower ^•••'

shifts his Vintage Stratocaster into -4

'^\.l
overdrive as he returns to the power
trio format that took his classic
albums to the Top 10 in the 70s. For
From Texas Special info on where to get the album, call
(800) 667-7420.
"Fat Strat" pickups to
Experience genuine Texas blues
unique leather and with the Texas Sugar/Strat Magik, the
debut album from Austin's Chris
snakeskin straps,
Duarte, on which he takes his Vin-
Custom Shop tage Stratocaster on a trip through
the ktnd of blues that put the lone
Accessories add a
star state on the map.
special touch to Fretman extraordinaire Richie
Kotzen adds to his list of credits
your guitar or bass.

•
vocalist and writer, as proved on his
Why not spice up solo release Mother Head's Family
your instrument Reunion. But the addition of extra ^"..il

duties in no way diminishes what he ,-<<""

today? does with his Custom Shop Tele-

caster and Stratocaster, which
is nothing short of amazing! " *•!

«• '
Learn the blues directly from ;'<
guitar legend Otis Rush in his new
<
video, Mastering Chicago Blues Gui- ":1
tar, which puts you at the feet <
^
of one of the masters of the genre. 4
^ .^r,^:r -^ „ ." - • ^•i:'r ^ . -^
A
.. ^

^
42 Fender Frontline '.^t ''"..',•/ «-:~f.-' ^'.\. 7 - ..« <
;<
^:- ^_^Mk - ,-*-1 ' ' - _-,^:\ ^••^^ • :rvr'' '• "' '- .,^- ^f

,,-1 .{'•-•
'^'i'lf-^'.t-i.^~- ^ ' •*'^.'-*.^'''-1—./- .. "1
ByA.R. Duchossoir
and John Page c^ft

As a tribute to Freddie Tavares' collaboration in

the design of the Stratocaster, and more general-
ly in memory of a man often dubbed the Fender
R&D patriarch, the Custom Shop will produce
a limited edition Stratocaster model in the
Diamond Dealer Series (pictured).
The most striking feature of this instrument is
an aluminum body hand-engraved by Ron
Chacey, showing a classic Hawaiian scene with
Freddie playing ukulele under the palm tree and he Stratocaster has turned

his wife Tamar dancing a hula with Diamond 40, but the commemora-

Head in the background (where they bought their tion of the most widely copied
electric guitar ever would not
first house).
be complete without a tribute
The body, pickguard and all the metal parts
to Freddie Tavares, the man
are nickel-plated. The neck is made of highly-fig-
who helped shape its sleek,
ured maple with exquisite pearl inlays from Larry
futuristic design. Freddie
Sifel: palm trees and "Aloha" on the 12th fret; passed away in July 1990
palm trees and Diamond Head on the peghead. without making big headlines.

^3
This exotic beauty will come in a pale island- Humble he was, humble he
blue leather gig bag with matching Aloha strap died. Too humble, his many

and SKB flight case. f ,,rll'-""

friends would probably argue
'^'."'''

Only 150 Freddie Tavares models will be because for more than three
decades—from 1953 until he
built to exacting specifications, and considering
retired in 1985—Freddie was a
his role and personality, you can rest assured f^/i mainstay in Fender's R&D
that the craftsmen in the Custom Shop will put
department. As such he was
all their heart and soul into the making of this
involved to some extent in
superlative guitar.
^' the design of practically every
Aloha Freddie, this one's for you—and it's ^ ^y ' / \ »-.
Fender instrument from that
more than just a new product. period.

Fender Frontline 43
 orchestra moved to California dur- new design: "I had my French curves and I
ing the 1940s where they appeared smoothed out all the lines."
in various posh hotels, in motion After the Strat he participated in the
pictures, and on recordings back- development of other well-known products
ing great artists such as Bing such as the Jazzmaster, the Jazz Bass, the
Crosby or Dorothy Lamour. 4x10 Bassman and many more. Freddie
In Hollywood, Freddie began helped channel many ideas for new prod-
to work as a freelance studio ucts and field test them before they hit the
musician while playing in night production line. He often recalled: "every-
clubs with a Country & West- thing we did, you might say we did empiri-
ern band. Although not neces- cally.-.all trial and error. Which, of course, if
sarily the trickiest part he ever you have the time and equipment, is the
had to play, the memorable best way to go. In fact, with many very
opening steel guitar riff in fancy designs, you go as far as you can with
the Looney Tunes cartoons is theory and you say, 'well let's finish it by
remembered as one of Fred- making the test.' That's one of the reasons
die's most enduring musical for the products' tremendous success: every-
performances (and a film thing was done empirically."
favorite among his many Freddie thoroughly enjoyed the job in the
friends!). No kidding, Fender lab: "It was very nice to work for the
that's Freddie who kicks off owner of a business who is totally involved in
before Porky, Daffy or Bugs hit the screen. the business because you get quick decisions."
Playing electric instruments, he also became In the eyes of many, he was a perfect associ-
self-taught—out of necessity—in audio elec- ate. He was an accomplished musician with a
tronics and amplification. This enabled him very good ear, he had experience in electron-
to service his own gear without having to be ics, and by all accounts he was the most
at the [expensive] mercy of radio shops and charming, enthusiastic, mild-mannered com-
aspiring repairmen. panion with whom one could wish to work.
In early 1953, Freddie became acquainted When CBS took over control of Fender in
with Fender via fellow steel player, Noel early 1965, Tavares remained involved in
Boggs. Years later, he would recall with R&D—but the change of ownership ushered
amusement the first encounter with his in a totally new corporate style as the
future boss: "I smiled and said to him, 'you operation became a part of a large, publicly-
are the first musical instrument manufactur- quoted conglomerate. Freddie would recall
er of electric guitars that I've ever met and I with nostalgia how "we had turned into a
practically hate you!' He said 'Why?' and I big fancy corporation all of a sudden, where
said: 'because you and all the other people all the different departments had their say
that make guitars do things that are totally in everything, and then there were budgets,
wrong. You must know they're wrong quotas and so on."
but you still do them.' He asked for an Freddie nonetheless soldiered on and,
Freddie Tavares was a true Hawaiian, born explanation and I said: 'the least knowledge- although fewer innovative products were
in Maui in 1913. He loved Hawaii and was a able electronic engineer in the world, if he premiered during the CBS stint, he did his
wonderful exponent of the (paraphrased) was making a microphone—even if it costs best to adapt to a new environment and
saying: you can take the man from the islands, only $4—would totally shield it, even if he keep the company's reputation where it
but not the islands from the man. Most pic- had to do it with window screening!'" should be. He no doubt welcomed the CBS
tures, whether from the distant or recent A long discussion ensued and the rest, as exit and the change of Fender ownership
past, usually show him wearing multi-col- they say, is now history: "we talked and which took place in 1985, but by then it was
ored Hawaiian shirts almost as an emblem. after lunch I stayed until about six o'clock time for him to retire.
But there was much more than meets the and then I had a job." In the latter part of his life, Freddie con-
eye in Freddie's attachment to the islands. At the time, Freddie was 40 and he was tinued to drop by the company to stay in
For those who had the pleasure of knowing getting tired of the night club routine. The touch with products, check on their quality
him, he was always prepared to tell a million offer to work for Fender was interesting on and hug old friends while telling a few
stories about life in Hawaii. Stories which its own merit, but also on health grounds as good-humored jokes. He was always avail-
made you visualize crystal-clear waters, he would jokingly recall: "Although I had able to younger generations eager to know
white sandy beaches and palm trees swaying played the music all my life, for many years I more about the Fender legend, and prepared
in the breeze. had never learned to drink or smoke. And I to share his wealth of experience in R&D.
The man was an addict of quality in life, thought 'why did the music I like only thrive On the private side, Freddie was also active
but he was first a musician. He began play- in the midst of alcohol and tobacco fumes?' in entertaining elderly people in retirement
ing the steel guitar in his youth, making When I was offered this job, I said to myself homes and hospitals, trying to cheer up less
money at dinner parties organized by rich 'anything is better than those "saloons" ' as I fortunate folks.
plantation owners. He also learned to play called them, so I took it!" Freddie is sadly missed by many. But with
the regular (Spanish) guitar as well as the His career in Fullerton began with the pro- the Stratocaster and many other timeless
bass. In the 1930s, he joined Harry Owens' duction of the Stratocaster but, with typical products in the development of which Fred-
Royal Hawaiian Orchestra as a steel player. modesty, Freddie was prompted to under- die played an integral part, his
Following the attack on Pearl Harbor, the state the extent of his involvement with the legend will live on.

44 Fender Frontline
 CHRIS DUARTE
fative Texan guitarist Chris Duarte didn't start touring after his debut
album, Texas Strat/Suger Magik was released last October—because he
had never stopped! He's been on the road for over 5 years and he doesn't
plan to quit any time soon.
Chris grew up in San Antonio, but his family moved around the states
before returning when he was 13. "My mom bought me a guitar then, but
I didn't understand it," he explains. "I didn't even know what the tuning
keys were for!"
When he finally start-
ed playing a couple of
years later, he couldn't
figure out what all the
fuss was about. "It came
pretty naturally to me, I
guess," recalls Duarte. "I
'hen Alan Mirikitani's band The Screaming
used to just listen to the
Buddhaheads first started performing, listeners were
album and think 'It goes
drawn by the outrageous name. The quality of the band, how-
like this/ then play it."
ever, is what kept them there.
A Beatles guitar book
Alan's introduction to the blues was also quite capricious.
was his first teacher, then
"My dad used to give me gifts for getting my hair cut," he
albums from which he
remembers. "One day he took me into the 5 & Dime and told
me to pick a record. I chose the first one I got my hands on,
which was a Jimmy Reed album. The music was so differ-
^ ent from anything I'd ever heard that I was entranced—
and still am."
While his interest in the blues was always present, Alan's
early guitar learning years were marked by the popular bands
of the day—both nationally and locally. "Growing up in Los
(continued on page 46)

"He put a
Michael
Bloomfield
record on,
and I knew
it was
KEVIN RUSSELL
something
•uitarist Kevin Russell grew up in Detroit listening to swing and big band special/'
jazz, but ended up in the San Francisco bay area fronting a blues band. In
between, he's done just about everything imaginable that involves music!
"I came from a very musical background/' he explains. "My father was a
drummer, and my uncles played guitar." Kevin and his brothers started vocal
and tap dance lessons before kindergarten, and guitar and drums (respectively)
soon after.
His parents encouraged him to learn jazz standards—he played his first gig at
10!—but the turning point in his life came when a guitar teacher in his father's
music store introduced him to the blues.
"This guy snuck me down the hall to his teaching studio, because he knew
my father wouldn't approve," Kevin recalls. "He put a Michael Bloomfield
record on, and immediately I knew it was something special."
Always an overachiever, Russell played five nights a week as a high school
senior, travelled the states with a funk band after graduating, and was guitarist
/
(continued on page 46)
 bought him a stint with local blues star led to RCA's re-release of the debut album,
junior Medlow, and eventually led to his Blues Had A Baby...
lifetime calling. "You can learn the blues," Now the band has embarked on their first
says Chris, "but you have to be born with the national tour (three visits to Japan qualified
(continued from page 45) Texas feel!" them as international road warriors), and
Alan has finally come full circle.

CHRIS DUARTE ALAN MlRIKITANI

KEVIN RUSSELL
learned songs by some of his favorite bands: Angeles, I could go to the Whisky and watch
the Rolling Stones, Black Sabbath, et al. But the guitarists' fingers to see what they were and musical director for a New York produc-
a job as a bus boy in a jazz club broadened his doing." tion of the musical Hair by his frwenty-first
horizons. "Jazz just blew me away!" enthuses A decade and a half of club gigs honed his birthday. And that was just the beginning.
Chris. "It seemed so melodic and elegant." skill as a player; he spent his off hours per- Kevin recorded three albums with the pop-
This exposure prompted jazz guitar lessons, fecting his songwriting craft. He was also rock band 707, and two with Taxxi. He played
giving Chris the ability to read chord charts delving deeper and deeper into the blues. with ex-Stray Cats members in Phantom,
and melody lines, as well as exposing him to "All three Kings (Albert, Freddie and B.B.), Rocker and Slick, did session work with
avante garde players like Al DiMeola and Hubert Sumlin, Muddy Waters, Buddy Whitesnake and other bands, toured with sax
John McLaughlin. Soon he realized the lim- Guy; all of them influenced the way I play great Clarence demons, and formed the Rus-
its of San Antonio, and transplanted himself and hear music. Finally I realized that blues sell-Schon Blues Band with Journey guitarist
to Austin. was what I should be playing." Neal Schon. On the other side of the boards,
"Being in Austin really opened my eyes," The early years for the Screaming Kevin has produced seven albums for Blues
muses Chris. Especially when an opportunity Buddhaheads were lean, but as the general Bureau International Records.
arose to work in a blues band (Bobbie Mack interest in blues was revived, their uplifting Currently, Kevin fronts the Russell
and Night Train). "I figured anybody could mix of that classic genre and driving rock Brothers, a bay-area blues band with his
play blues," he laughs. "Boy was I wrong!" drew the attention of more than just the fans. brother on bass. But who knows what
The awakening was rude, but beneficial. It An international contract with BMG Japan he'll come up with next!

caster is being cuddled by our 90-

year-young grandmother at her ANNOUNCEMENTS
(continued from page 4) party. Thanks for making dreams
A representative from the
come true!
NUTS AND BOLTS California Governor's office
Howie and Sue
Does Fender make an LSR congratulated Fender on the success
Channel Islands, U.K.
replacement nut for the Ameri- of their SPC program, which teaches
We were wondering — does your
can Standard Stratocaster? employees to quickly spot and cor-
grandma prefer alternative or heavy
Ray Spitzer rect defects in manufacturing to
metal music?
Long Beach, CA ensure product consistency.
Fender's LSR nut will retrofit most gui-
THE TIGHT STUFF Kesling middle
tars, including the American Standard
Is there any difference in school in Laporte, IN implemented a new
Strat. However, unless you're replac-
string tension between series of guitar classes, culminating in Guitar
ing an existing Wilkerson nut, you Fender strings with nor- Extravaganza: a 2-day event featuring performances
should have your authorized Fender mal ball ends and those by the students. Collaborating on the project were
service center do the installation.
with Super Bullets? Fender and Duquesne University.
FOREVER YOUNG Craig Wilson
Jimmy D'Aquis-
This 1993 Special Edition Strato- Victoria, Australia
to, one of the
According to string expert
premier guitar makers
Her Canz, both strings
in the world, recently
should have identical
spent some time at
tension.
Fender's Custom Shop
THIS END Up sharing his expertise by
When using the training others in his
new Fender-Floyd'Rose methods.

bridge is it necessary to cut off the CORRECTIONS

ball end of the string? Last issue incorrectly named DiDi
Keith Fraser Dunn as daughter of Donald "Duck"
Honolulu, HI Dunn. The girl pictured, in fact, was
Yes. One way around this is to "Dee Dee," and is not related to the
load the string at the headstock, famous bass player.
thus you can keep the ball end In the Sound Setups section, the
at the tuning peg. Another is to picture labeled Andy Fairweather-
use Fender's FR end strings,
Lowe is actually Phil Palmer.
which have no ball end!

46 Fender Frontline
 Cool new
Frontline
T-Shirt!
p^l "HERE'S"H]S
in-" NffiTAlBUM...
^s

"^ /

sl'°fPiinif

I Order yours today— \ 1<<<£^<: \

see ad on page I! 'y"^
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?w
QYES* Please send me one year (3 issues)
of FRONTLINE Magazine for S8°°*

Name Mail to:

Frontline Subscription
Address 11999 San Vicente Blvd., Suite 401
Los Angeles, CA 90049
B City State Zip_ Please send check or money order
drawn on a U.S. bank in U.S.
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(important!)
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<?»yi 'SWHCS K—pn nwn »niim»r; —lOj

(I'-TO^S
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 IT'S TIME FOR ANOTHER FORTHRIGHT
lat classic FOLD IN PAGE
toduct from
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[esterday has an
ipgraded version FOLD-IN
that will literally Like 9 many players, you may have turned to equip-

^
ment from the past for the rich, musical sound it delivers.
knock your
Yet how do you also get the benefits of the innovative tech-
socks off?

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nology that has been developed in the last few decades?
For a helpful hint, fold in page as shown. FOLD THIS SECTION OVER LEFT B Fold back so "A" meets "B'

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FENDER MUSEUM TOU ^/CM EDICAL INSTRUMENTS

18 L<
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"TRAVEL
SKYSIN<
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VMRUN«.

DEVELOPMENT OF COOL NEW GEAR

NEVER ENDS—IT SEEMS YOU HAVE TO KNOW
TWICE AS MUCH NOW TO STAY IN
THE GROOVE. BUT THERE'S AN OLD
AMERICAN FAVORITE WHOSE LEAP
INTO TODAY WILL KEEP YOU
AHEAD OF THE GAME.
A^ ^B
 ^

Pete Anderson is doubly talented. As a producer,

he's manned the boards for such notable artists
as Dwight Yoakam, Michele Shocked and
The Meat Puppets. As a guitar player, he's
To ordci
responsible for the brilliant work on Dwight
or Cas
Yoakam's albums and tours. Then there's call: (800) 60;
his new solo release. Working Class.

It's no wonder Fender tapped his

tonal acumen to help design the
new Dual Professional amplifier
from the Custom Amp Shop.
/
Wouldn9t you? "